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THE    DIVINE    COMEDY 
OF    DANTE 


THE     INFERNO 


THE    DIVINE    COMEDY 
OF    DANTE 

THE    INFERNO 


A  TRANSLATION   AND   COMMENTARY 

BY 

MARVIN   R.  VINCENT,  D.D. 

PBOFESSOB  OF  SA.CBED  LITERATURE  IN  UNION  THEOLOGICAL 
BXMINABY,   NEW  YORK 


NEW   YORK 

CHARLES    SCRIBNER'S    SONS 

1904 


n%< 


j;c.^^ 


COPTBIGHT,   1904,   BT 

CHAKLES  SCRIBNER'S  SONS 


Pablished,  October,  1904 


THOW   DIRECTORY 
PRINTINQ   AND    BOOKBINPINQ   COMPANY 
HEW   YORK 


TO 
ISOBEL  MACKERGO   TAYLOR 

MY  COMPAN"IOiq-   AI^D   PUPIL 

IIT  THE   STUDY  OF 

DANTE 


255915 


PREFACE 


The  last  quarter  of  a  century  has  witnessed  such  a  notable 
revival  of  interest  in  Dante,  and  so  many  valuable  contribu- 
tions to  the  Dante-literature,  that  I  have  been  led  to  believe 
that  there  is  room  for  a  new  Translation  and  Commentary, 
in  the  light  of  these  later  contributions.  Many  of  the  fruits  of 
these  are  contained  in  the  Commentary,  many  more  in  the 
Translation. 

I  have  made  a  literal  translation,  and  have  not  attempted 
to  produce  a  smooth  and  elegant  English  poem.  Such  an 
attempt  will  inevitably  land  any  translator  in  florid  para- 
phrase. One  who  studies  the  Commedia  only  through  the 
medium  of  a  translation,  must  be  content  with  a  partial 
impression  of  its  beauty,  grandeur,  and  power.  At  the  very 
best,  translation  is  "disenchantment";  but  certainly  the 
spell  will  not  be  restored  by  rhetorical  amplifications,  by 
diluting  Dante's  thought  into  conventional  commonplace,  or 
by  emasculating  his  vigorous  diction  to  meet  the  demands 
of  conventional  propriety.  Literal  translation  will  confront 
its  readers  with  not  a  few  novel,  startling,  and  occasionally 
disagreeable  forms  of  expression.  For  these,  Dante,  and  not 
his  translator,  must  be  held  responsible. 

I  have  used  the  texts  of  Witte,  Scartazzini,  and  Moore;  but 
the  basis  of  the  Translation  is  the  Oxford  text  of  Dr.  Moore. 

Not  even  native  Italian  students  of  Dante  are  beyond  the 
need  of  commentaries,  as  is  shown  by  the  number  and  the 
dimensions  of  those  which  have  been  appearing  in  Italy  from 

vii 


viii  PREFACE 

a  very  early  date.  Much  more  is  such  aid  required  by  readers 
who  are  unacquainted  with  the  original.  Such  readers  have 
been  kept  prominently  in  view  in  the  preparation  of  the  notes. 

I  shall  not  attempt  a  catalogue  of  the  numerous  works  upon 
which  I  have  drawn.  My  obhgations  are  many.  I  have  freely 
availed  myself  of  the  enormous  labors  of  Dr.  Scartazzini  and 
of  the  important  and  deeply  interesting  contributions  of  Dr. 
Edward  Moore.  To  these  names  I  may  add  Philalethes 
(King  John  of  Saxony),  Arthur  J.  Butler,  the  Honorable 
"William  Warren  Vernon,  Franz  Xaver  Kraus,  Paolo  Perez, 
and  Alfred  Bassermann.  I  have  derived  valuable  suggestions 
from  the  prose  translations  of  Professor  Norton  and  of  Mr. 
Oelsner,  and  also  from  that  of  Mr.  Arthur  J.  Butler  with  its 
scholarly  notes.  The  notes  of  Mr.  H.  F.  Tozer  have  been 
useful,  as  have  been  the  metrical  versions  of  Gary  and 
Longfellow.  Obligations  to  Professor  Fay's  invaluable  Con- 
cordance, Dr.  Scartazzini's  "Encyclopaedia  Dantesca,"  and 
Mr.  Paget  Toynbee's  "Dante  Dictionary,"  go  without  saying. 
My  old  friend.  Dr.  Charlton  T.  Lewis,  died  before  the  comple- 
tion of  my  task,  in  which,  from  the  beginning,  he  manifested 
a  warm  interest,  and  in  the  prosecution  of  which  his  con- 
summate scholarship  and  his  extensive  library  were  always 
at  my  command. 

I  may  add  a  word  as  to  the  relation  of  this  book  to  my  strictly 
professional  work.  I  have  long  believed  that  the  study  of 
Dante  ought  to  form  a  part  of  the  curriculum  of  every  the- 
ological institution.  The  department  of  Church  History  is 
compelled  to  deal  largely  with  the  Mediaeval  Church;  and  the 
history  of  Theology  cannot  pass  over  Aristotle  and  the  com- 
pany of  the  great  Scholastic  Divines  whose  methods  he  in- 
spired, and  whose  works  played  so  important  a  part  in  Dante's 
literary  training.  No  well-equipped  clergyman  can  afford  to 
be  ignorant  of  these;  but  in  order  to  know  the  Middle  Ages,  it 
is  indispensable  to  know  Dante,  who  is  the  exponent  not  only 


PREFACE  ix 

of  their  society  and  their  poHtics,  but  equally  of  their  ethics, 
their  theology,  and  their  ecclesiasticism. 

The  second  part  of  the  work,  the  "  Purgatorio,"  is  about 
ready  for  the  press  and  will  appear  in  due  time. 

M.  R.  V. 


INTRODUCTORY 


NAME  OF  THE  POEM 

Dante  calls  his  poem  Commedia  in  Inf.  XVI.  128  and 
XXI.  2.  He  explains  this  title  in  the  letter  to  Can  Grande 
della  Scala  in  which  he  dedicates  to  him  the  Paradise: 
saying  that  he  calls  it  a  Comedy  because  it  begins  horribly 
with  Hell  and  ends  happily  in  Paradise:  and  since  a  Comedy 
is,  according  to  the  derivation  of  the  word,  a  village-poem, 
he  further  gives  this  name  to  his  poem  because  it  is  written 
in  the  vulgar  or  popular  language,  as  distinguished  from 
Latin,  in  which  he  originally  intended  to  write  it.  The 
epithet  "divine"  was  not  a  part  of  the  title,  but  was  added 
later  by  admirers  of  the  poem. 

DANTE'S  COSMOGONY 

Dante's  astronomical  system  bears  the  name  of  Ptolemy,  a 
mathematician,  astronomer,  and  geographer,  born  in  Egypt 
about  the  end  of  the  first  Christian  centiiry.  Ptolemy, 
however,  was  not  the  author,  but  only  the  principal  ex- 
pounder of  the  system,  which  was  universally  accepted  until 
the  sixteenth  century,  when  it  was  superseded  by  that  of 
Copernicus.  Dante's  principal  geographical  authority  was 
Orosius,  a  Spanish  ecclesiastic,  born  toward  the  end  of  the 
fourth  century,  and  best  known  by  his  "Histories  against 
the  Pagans  in  Seven  Books  "  (Historiarum  adversus  Paganos 
Libri  VIL),  the  first  book  of  which  was  mainly  geographical, 
its  matter  being  mostly  condensed  from  Strabo. 

1 


2-  •  THE  DIVINE  COMEDY 

According  to  the  Ptolemaic  system,  the  earth  is  a  stationary 
sphere,  forming  the  centre  of  the  universe,  and  the  heavenly 
bodies  revolve  round  it  in  circular  orbits. 

The  earth  is  divided  into  two  hemispheres— the  northern 
and  the  southern,  the  former  of  land,  the  latter  of  water. 
Dante  retains  the  primitive  belief  that  the  dry  land  on  the 
surface  of  the  globe  is  completely  surrounded  with  water;  the 
belief  being  founded  upon  Scripture,  Gen.  I.  9;  Ps.  XXIV. 
1,  2;  I.  Pet.  III.  5. 

The  dry  land  is  limited  to  the  northern  hemisphere.  The 
early  behef  was  that  the  southern  hemisphere  was  unin- 
habitable. "This  belief,"  says  Dr.  Moore,  "is  ciu-iously 
illustrated  by  the  fact  that  in  some  of  the  old  Egyptian 
zodiacs  or  star-maps,  the  figures  representing  the  southern 
constellations  are  said  to  be  depicted  in  boats."  The  belief 
in  antipodes  was  regarded  by  the  Christian  Fathers  as 
heretical,  on  the  ground  that  the  tropical  ocean,  on  account 
of  intense  heat,  was  unnavigable;  and  that  therefore  any 
inhabitants  of  the  southern  hemisphere  could  not  be 
descended  from  Adam. 

In  longitude,  the  habitable  earth  was  supposed  to  occupy 
180°,  or  10,200  miles;  from  Gades  (a  group  of  islands  believed 
to  lie  directly  in  the  mouth  of  the  Straits  of  Gibraltar)  to  the 
river  Ganges.  In  latitude,  the  dry  land  was  supposed  to 
be  included  between  the  Equator  and  the  Arctic  circle;  the 
latitude  of  which  is  66J°,  and  consequently  to  extend  over 
3,674  miles,  only  three-fifths  of  which  was  habitable  by 
man. 

Asia,  in  which  Egypt  was  included,  was  as  large  as  Europe 
and  Africa  together.  The  western  half  of  the  habitable 
world  was  divided  into  the  two  nearly  equal  continents  of 
Europe  and  Africa  by  the  Mediterranean,  which  was  supposed 
to  cover  90°  of  longitude.  Jerusalem  was  the  centre  of  the 
habitable  earth  both  in  latitude  and  longitude.    Rome  was 


INTRODUCTORY  3 

central  between  Jerusalem  and  Gades;  in  other  words,  it 
was  the  centre  of  the  western  or  Christian  world.  Hell  was 
directly  under  Jerusalem:  and  Purgatory,  the  antipodes  of 
Jerusalem,  was  an  island  in  the  midst  of  the  waters  of  the 
southern  hemisphere. 

The  earth  was  surrounded  by  the  nine  heavens,  a  series  of 
hollow  revolving  spheres,  one  within  the  other.  If  a  boy's 
marble  were  suspended  in  the  centre  of  a  small,  hollow  glass 
globe,  and  this  globe  were  enclosed  in  another  and  larger  one, 
and  this  again  in  another,  and  so  on  up  to  nine,  the  marble 
would  represent  the  earth,  and  each  successive  globe  one  of 
the  heavens.  Each  of  these  heavens  receives  its  name  from 
the  heavenly  body  attached  to  it.  The  one  nearest  the  earth 
is  the  heaven  of  the  Moon,  followed  in  order  by  the  heavens 
of  Mercury,  Venus,  the  Sun  (regarded  as  one  of  the  planets), 
Mars,  Jupiter,  Saturn,  the  heaven  of  the  fixed  stars,  and  the 
crystalline  heaven,  known  as  the  Primum  Mobile,  because  it 
generates  and  controls  the  revolutions  of  the  other  heavens, 
as  it  revolves  from  east  to  west  in  twenty-four  hours.  Above 
all  these  is  the  Empyrean,  motionless  and  boundless,  the 
special  abode  of  God,  and  the  eternal  habitation  of  his  saints. 
According  to  Dante  (Conv.  II.  4,  14),  the  term  Empyrean 
signifies  the  heaven  of  flame;  "flame,"  however,  being  under- 
stood spiritually,  as  holy  love. 

Beneath  the  lowest  of  these  heavens,  the  heaven  of  the 
Moon,  are  four  elemental  spheres,  forming  a  continuation  of 
the  system  of  the  heavens.  The  sphere  of  earth  is  succeeded 
by  that  of  water,  followed  by  the  spheres  of  air  and  fire,  the 
last  being  next  below  the  Moon.  The  earth  is  within  the 
spheres  of  water  and  air,  subject  to  variations  of  heat  and 
cold,  wind  and  rain.  The  division  appears  on  the  Mount  of 
Purgatory  in  the  southern  hemisphere,  where  the  sphere  of 
air  extends  as  far  as  the  end  of  Ante-Purgatory  at  the 
gate  of  St.  Peter,  the  entrance  to  Purgatory  proper,  at  which 


4  THE  DIVINE  COMEDY 

point  the  sphere  of  fire  begins,  and  all  atmospheric  disturb- 
ances cease.    See  Purg.  XXVIII.  97-103. 

Hell  and  Purgatory,  being  situated  in  the  earth,  were 
treated  as  geographical  facts.  According  to  the  popular 
belief,  the  earthly  Eden  or  Paradise  was  in  the  extreme  east, 
probably  owing  to  the  mention  of  the  Tigris  (Hiddekel)  and 
Euphrates  in  Gen.  II.  14.  Dante  sees  these  two  rivers  in  the 
Earthly  Paradise  on  the  summit  of  the  Purgatorial  Mount, 
issuing  from  one  source;  an  idea  which  may  have  been  due 
to  the  use  of  the  singular  number,  "a  river,"  in  Gen.  II.  10. 
Dante's  conception  of  Purgatory  as  a  mountain  crowned  by 
the  Earthly  Paradise  was  entirely  original. 

DANTE'S  MORAL  UNIVERSE 

The  Commedia  is,  before  all  else,  a  moral  and  religious 
poem.  Dante  himself  characterized  it  as  "sacred"  or  "con- 
secrated," and  says  that  "simply  considered,  its  subject  is 
The  state  of  the  soul  after  death :  but  allegorically  taken,  its 
subject  is  man,  according  as  he  renders  himself  liable  to  the 
reward  or  punishment  of  justice,  by  his  good  or  ill  deserts." 
The  honor  of  having  been  the  first  Christian  poet  has  been 
claimed,  and  with  some  plausibility,  for  Dante;  but  however 
that  may  be,  the  deepest  significance  of  the  Commedia  lies 
in  its  being  the  story  of  the  human  soul  in  its  relation  to  God. 
It  is  not  only  that  it  originates  in  Christian  sentiment;  that ' 
the  facts  of  Christian  history  and  the  precepts  of  Christian 
teaching  are  employed  by  way  of  allusion  and  illustration;— 
but  that  it  is  Christian  in  its  very  fibre.  Dealing  primarily 
with  the  state  of  the  soul  after  death,  it  reflects  in  the  various 
phases  of  that  state  the  multiform  aspects  of  th^  life  of  kings, 
statesmen,  politicians,  party-leaders,  tyrants.  Popes  and 
Cardinals,  lords  and  ladies,  soldiers,  sages,  poets,  musicians, 
money-changers — of  the  hundreds  of  characters,  in  short, 


INTRODUCTORY  5 

which  figured  in  the  society  of  the  Poet's  own  age  and  of 
former  ages.  Thus  it  is  a  picture  of  mediaeval  poUticg;  of 
statecraft  and  local  intrigue;  of  the  attitude  and  policy  of  the 
Church;  of  the  common  life  of  citizens;  of  the  greed  and  ex- 
tortion of  Popes;  of  the  quarrels  of  nobles.  It  reflects  the 
theology,  the  art,  the  literature,  the  employments  and  diver- 
sions, the  ruling  ideas,  the  virtues  and  the  vices  of  its  age. 
It  is  the  consummate  expression  of  Mediaevalism.  But  un- 
derlying all  and  through  all  is  the  story  of  the  soul  of  man, 
working  out  its  relation  to  a  divine  law  and  a  divine  ideal. 
It  is  the  assertion  of  the  prime  significance  of  personal  virtue 
over  against  the  eudaemonism  of  Paganism:  of  the  dignity 
of  individual  manhood  over  against  the  dignity  of  birth  and 
station:  of  moral  beauty  over  against  mere  sensuous  beauty. 
All  men,  all  ages,  all  conditions  are  swept  within  the  lines  of 
the  Kingdom  of  God:  not  only  men  and  women,  but  even  the 
grotesque  mythical  monsters  of  the  pagan  world,  and  the 
imaginary  personages  of  classic  drama  and  poetry.  After 
we  have  stripped  Dante's  Christian  thought  of  its  medisBval 
excrescences,  there  still  remain  the  eternal  truths  that  God 
is  the  absolute  and  rightful  sovereign  of  the  universe;  that 
loyalty  to  him  is  blessedness,  and  estrangement  from  hin^ 
misery:  the  truths  of  faith,  love,  penitence,  pardon,  duty  and 
retribution. 

God  is  the  centre  and  mover  and  administrator  of  all 
things. 

"  His  glory  who  doth  all  things  move  pervades 
The  universe." 

Even  the  economy  of  the  physical  universe  obeys  spiritual 
laws.  Theology  blends  with  cosmogony.  The  influence  of  the 
Primum  Mobile  extends  downward  through  the  fixed  stars 
to  the  different  forms  of  existence  in  the  other  spheres.  The 
characters  and  destinies  of  men,  primarily  ordained  by  God, 


6        -  THE  DIVINE  COMEDY 

are  shaped  through  the  agency  of  the  stars,  yet  not  so  as  to 
destroy  human  responsibUity.  The  Empyrean  is  without 
motion  because  it  is  the  special  home  of  God,  whereby 
the  desire  implied  in  motion  is  satisfied.  The  velocity  of 
the  Primum  Mobile  is  due  to  intensity  of  desire  to  attain  the 
perfect  rest  of  the  Empyrean.  Earth  is  the  centre  of  the 
heavens.  The  nearer  the  earth,  the  smaller  the  circuit  and 
the  slower  the  rate  of  revolution;  because  proximity  to  the 
earth  implies  corresponding  remoteness  from  the  heaven  of 
God.  Swiftness  of  motion  measures  the  love  and  the  hap- 
piness of  glorified  spuits. 

The  administration  of  himian  affairs  is,  again,  predomin- 
antly moral  and  spiritual.  It  is  carried  on  through  two 
agents— the  Church  and  the  Empire;  but  not  so  as  that  the 
one  is  spiritual  and  the  other  temporal.  Both  are  spiritual. 
The  Empire  is  a  spiritual  agency  no  less  than  the  Church. 
Dante  held  by  the  delusion  of  "the  Holy  Roman  Empire": 
that  the  Empire  of  Augustus  and  Vespasian  and  Constantine 
was  still  perpetuated  in  the  Hohenstauf en :  that  the  Empire 
as  represented  by  the  German  kings  was  the  direct  and 
legitimate  successor  of  the  dominion  of  the  Caesars,  and  was 
divinely  entitled  to  the  sovereignty  of  the  world,  since  the 
Roman  Empire  was  ordained  to  that  end  by  God.  The 
world  was  a  monarchy,  and  that  monarchy  was  moral  and 
spiritual.  The  Church  and  the  Empire  were  its  co-ordinate 
factors,  each  keeping  strictly  within  its  own  function;  but 
both  functions  were  ultunately  spiritual.  Pope  and  Emperor 
were  alike  God's  Vicars.  Dante  calls  the  Emperor  Henry  VII. 
"the  Lord's  Anointed,"  "the  exalted  offspring  of  Jesse,"  and 
even  "the  Lamb  of  God."  The  city  of  Rome  is  the  divinely- 
decreed  local  centre  of  Church  and  Empire  aUke.  Dante  says : 
"A  special  origin  and  a  special  growth,  thought  out  and  or- 
dained by  God,  was  that  of  the  Holy  City.  And  certainly  I 
am  of  the  firm  opinion  that  the  stones  which  form  her  walls 


INTRODUCTORY  7 

are  worthy  of  reverence;  and  the  ground  on  which  she  stands 
is  worthy  beyond  all  that  has  been  preached  and  proved  by 
men."  In  Purg.  XXXII.  he  speaks  of  "that  Rome  where 
Christ  is  Roman."  The  German  sovereigns  are  continually 
being  urged  to  return  and  fix  their  seat  upon  the  shore  of  the 
Tiber. 

This  ideal,  utterly  chimerical  and  impracticable  as  it  was, 
was  to  Dante  more  than  a  political  theory.  It  was  a  religion. 
In  his  eyes  the  Roman  people  were  as  truly  God's  chosen  peo- 
ple as  the  Jews.  Roman  history  was  sacred  equally  with 
Jewish  history.  If  Moses  and  Isaiah  and  Paul  were  "in- 
spired," so  were  Vergil  and  Livy  and  Lucan.  The  term 
"scripture"  is  applied  indiscriminately  to  the  Bible  and  to 
Greek  and  Roman  classics;  and  a  quotation  or  illustration 
from  the  Bible  is  usually  supplemented  with  one  from  Greek 
or  Roman  literature  or  history. 

Accordingly  unfaithfulness  or  treachery  to  the  Empire  in- 
curs the  divine  displeasure.  Dante  describes  it  as  blasphemy 
of  deed  against  God  who 

"  made  it  holy  for  His  use  alone." 

To  be  outside  the  Church  is  to  be  excluded  from  Heaven. 
The  celestial  gate  is  closed  against  the  heathen,  however 
virtuous  or  noble,  and  even  against  unbaptized  infants. 
One  or  two  peculiar  exceptions  to  this  rule  will  be  noted  in 
their  place. 

THE  ALLEGORICAL  CHARACTER  OF  THE 
COMMEDIA 

In  reading  the  Commedia  one  must  be  continually  on  the 
watch  for  double,  triple,  and  even  quadruple  meanings  "coiled 
up"  within  the  text.  This  enigmatical  method  was  the  pro- 
duct of  the  practice  of  allegorical  interpretation  which  pre- 


8  THE  DIVINE  COMEDY 

vailed  at  a  very  early  date.  It  was  applied  to  the  poems  of 
Homer  nearly  four  centuries  before  Christ,  as  a  means  of  ex- 
plaining or  reconciling  passages  which  clashed  with  the  relig- 
ious conceptions  of  the  \\Titer's  day.  It  was  developed  by 
Philo  in  the  first  Christian  century,  as  a  means  of  reconciling 
Jewish  thought  and  institutions  with  Greek  culture.  It  per- 
vaded and  shaped  the  Biblical  exegesis  of  the  Christian  Fathers 
of  the  third,  fourth,  and  fifth  centuries,  and  was  perpetuated 
by  the  scholastic  theologians,  such  as  Albertus  Magnus, 
Aquinas,  and  Bonaventura,  all  of  whom  were  contemporary 
with  Dante,  who  was  a  careful  student  of  Scripture,  and  was 
familiar  with  their  writings,  besides  being  an  enthusiastic 
admirer  of  Augustine.  It  was  no  wonder  that  he  was  im- 
bued with  the  idea  of  a  fourfold  sense  in  Scripture,  and  that 
he  conveyed  it  into  his  own  poem. 

He  himself  explains  it  in  his  letter  to  Can  Grande  della 
Scala.  He  says:  "The  sense  of  this  work  is  not  simple  but 
manifold.  One  sense  is  literal,  the  other  allegorical."  He 
adds  also  a  moral  and  a  mystical  sense,  but  says  that  these 
may  be  included  under  the  allegorical.  His  illustration  is 
drawn  from  the  second  canto  of  the  Purgatory.  When 
the  disembodied  spirits,  ferried  over  the  Southern  Ocean, 
approach  the  shore  of  Purgatory,  they  chant  Psalm  CXI V. : 
"When  Israel  went  out  of  Egj^t,"  etc.  Literally,  he  says, 
this  means  the  exodus  of  the  Hebrews  from  Egj^t:  allegoric- 
ally,  our  redemption  by  Christ:  morally,  the  conversion  of 
the  soul:  mystically,  the  departure  of  the  holy  soul  from  the 
bondage  of  the  world  to  the  liberty  of  heavenly  glory.  It 
must  be  borne  in  mind,  however,  that  the  four  senses  prac- 
tically resolve  themselves  into  two,  and  that,  usually,  it  is 
sufl5cient  to  look  for  only  a  literal  and  an  allegorical  sense. 
The  latter  it  is  not  always  easy  to  identify.  This  twofold 
sense  ansrs^ers  to  a  double  design  pervading  the  Commedia 
as  a  whole.    In  a  literal  sense  it  is  Dante's  own  spiritual 


INTRODUCTORY  9 

biography;  in  another  sense  it  is  the  spiritual  biography  of 
man  as  man. 

DANTE'S  HELL 

Much  ingenuity  and  labor  have  been  expended  in  attempts 
to  trace  Dante's  general  conception  to  particular  sources, 
and  to  refer  this  or  that  passage  of  the  poem  to  some  one  of 


Such  efforts  count  for  very  little,  especially  when  they  go 
to  the  length  of  denying  to  Dante  the  credit  of  originality. 
If  originality  consisted  only  in  novelty,  no  literary  production 
could  be  called  original.  Dante's  originality  is  a  point  which 
it  is  superfluous  to  discuss. 

For  centuries  before  Dante  men's  minds  had  been  busy 
with  speculations  upon  the  state  of  the  dead,  and  their  im- 
agination had  produced  numerous  pictures  of  Hell,  Purgatory 
and  Paradise.  Many  legendary  visions  were  current  in  the 
Middle  Ages,  such  as  "The  Vision  of  St.  Paul,"  "The  Voyage 
of  St.  Brandan,"  "The  Vision  of  Tundalus,"  "The  Purgatory 
of  St.  Patrick,"  "The  Vision  of  Fra  Alberico,"  and  "The  Vision 
of  Wettin."  That  many  of  these  were  known  to  Dante  is 
probable;  but  their  material  was  held  in  solution  in  popular 
mediaeval  thought.  That  Dante's  conception  grew  out  of 
this  popular  thought  goes  without  saying.  The  conception  of 
a  journey  through  the  realm  of  the  dead  was^as^old'as  Homer 
TTnofolder;  and  formed  a  prominent  feature  in  the  ^Eneid 
of  Vergil,  who  was  Dante's  favorite  poet  and  acknowledged 
literary  master.  It  is  not  difficult  to  discover  resemblances 
to  the  Commedia  in  Vergil  and  in  these  crude  legends;  but 
Dante's  originality  is  in  nowise  impugned  by  these  resem- 
^ances.  As  D'Ancona  remarks;  "The  subject  belonged  to 
everybody  and  nobody.  Dante,  in  appropriating  it,  put  into 
it  what  his  predecessors  had  been  unable  to  put — what  he 


10  THE  DIVINE  COMEDY 

alone  possessed.    Many  had  already  tried  to  describe  the 

pains  of  Hell  and  the  joys  of  Heaven;  and  it  did  not  require 

a  large  stock  of  imagination  to  accumulate,  in  the  description 

of  the  former,  torments,  writhings,  fire,  ice,  pitch,  brimstone, 

^-   serpents,  monsters,  demons;  and  in  that  of  the  latter,  delights 

/ 1  and  joys,  lights,  perfumes,  songs  and  sounds;  but  no  one  had 

I     fought  of  taking  up  that  old,  hackneyed  theme,  and  making 

JiLcepresent  human  life  in  all  its  forms  and  vicissitudes,  from 

/  4te^abyss  of  woe  to  the  summit  of  felicity." 

In  the  inscription  over  the  gate  of  Hell  with  which  the 
third  canto  of  the  Inferno  opens,  we  read: 

"Before  me  there  were  no  created  things. 
Save  things  eternal." 

This  means  that  Hell  was  created  at  the  time  of  the  fall  of  the 
rebellious  angels  from  Heaven,  and  when  the  only  existing 
,  things  were  the  "eternal  things" — the  angels  and  the  celestial 
'  spheres.  Vergil's  account  of  Jhe_prign_of  HeU  in  Inf. 
XXXrV.  is  not  consistent  with  this,  since  it  assumes  that  the 
earth  was  created  before  the  fall  of  Lucifer.  This  account 
is  that  Lucifer,  when  hurled  from  Heaven,  struck  the  earth 
on  the  southern  hemisphere,  which  at  that  time  consisted 
of  land,  and  tore  through  it  to  the  centre  of  the  globe. 
The  land  of  the  southern  hemisphere  retreated  from  him 
in  terror,  and  \\ithdrew  to  the  northern  hemisphere;  and 
the  sea  came  up  and  covered  the  space  which  it  left.  Then, 
when  Lucifer  was  fixed  at  the  centre,  the  earth  fled  away  in 
both  directions;  northward,  forming  the  pit  of  Hell,  and 
southward,  heaving  up  the  mount  of  Purgatory  amid  the 
southern  waters,  leaving  behind  it  a  narrow  passage  from 
the  centre  of  the  earth  to  the  base  of  the  Purgatorial 
Mount. 

The  general  outUne  of  the  infernal  pit  is  that  of  an  inverted 
cone  or  a  funnel,  the  interior  circumference  of  which  is  divided 


INTRODUCTORY  11 

into  nine  concentric  "circles,"  subdivided,  in  some  cases,  into 
minor  circles  or  "rounds." 

The  nine  circles  are  approached  through  a  zone  compassing 
the  outermost  border  of  the  pit,  which  is  not  included  in  the 
enumeration  of  the  circles,  but  which  forms  a  kind  of  ves- 
tibule, where  dwell  the  souls  of  those  angels  who  were  neither 
loyal  to  God  nor  openly  rebellious;  and  of  men  who  did 
neither  positive  good  nor  positive  evil;  neutrals,  whom 
Heaven  and  Hell  alike  reject. 

The  first  circle  is  known  as  Limbo,  where  are  placed 
unbaptized  infants,  and  virtuous  men  and  women  of  pre- 
Christian  times.  Their  only  punishment  is  to  live  in  eternal 
longing  without  hope. 

The  torments  begin  with  the  second  circle.  The  punish- 
ments increase  in  severity  with  the  descent.  The  classifica- 
tion of  sins  is  expounded  by  Vergil  in  Inf.  XL,  on  which  see 
notes. 

The  nine  circles  fall  into  two  great  sections,  the  uppermost^ 
devoted  to  sins  of  incontinence,  the  other  to  sins  of  malice. 
The  Incontinent  occupy  four  circles,  beginning  with  the 
second.  The  sixth  circle  is  included  within  the  wall  of  the 
City  of  Dis.  This  forms  the  division  between  the  two  great 
sections,  or  between  upper  and  lower  Hell.  This  is  the  circle 
of  the  Heretics,  or,  more  strictly,  the  followers  of  the  atheistic 
Epicurus. 

From  the  sixth  circle  a  steep  descent  leads  to  the  second 
section,  which  extends  to  the  bottom  of  the  pit  and  is  divided 
between  sins  of  violence  and  sins  of  fraud.  The  Violent 
occupy  the  seventh  circle,  which  contains  three  rounds,  in 
which,  respectively,  are  punished  the  violent  against  their 
neighbors,  against  themselves  (suicides),  and  against  God. 

The  eighth  circle,  known  as  Malebolge  or  Evil-pits,  is 
reached  by  a  deep,  cylindrical  shaft,  from  the  foot  of  which 
proceeds  a  series  of  ten  trenches,  arranged  on  a  do^^nward 


12  THE  DIVINE  COMEDY 

slope  like  the  rows  of  an  amphitheatre.  These  trenches,  in 
each  of  which  is  punished  some  form  of  fraud,  are  separated 
by  embankments,  which  are  crossed  by  rough  bridges  of  rock 
springing  from  the  wall  which  encompasses  Malebolge,  and 
traversing  the  entire  series  of  trenches,  converging  toward  a 
deep  well  at  the  bottom  of  the  slope,  like  the  spokes  of  a  wheel 
to  the  hub. 

At  the  bottom  of  this  well  the  ninth  circle  is  reached,  where 
treachery,  the  worst  form  of  fraud,  is  punished.  This  is  a 
region  of  eternal  ice,  and  is  divided  into  four  rounds,  the 
lowest  of  which  surrounds  the  apex  of  the  infernal  cone,  where 
Lucifer  is  eternally  fixed. 

Hell  is  traversed  by  a  stream  which  appears  at  different 
points  under  four  different  names :  Acheron,  Styx,  Phlegethon, 
and  Cocytus.  Acheron  is  crossed  in  passing  from  the  ves- 
tibule of  the  Neutrals  to  the  first  circle.  In  the  fourth  circle 
the  stream  forms  the  filthy  lagoon  of  Styx,  across  which 
passage  is  made  to  the  city  of  Dis.  At  the  entrance  to  the 
third  round  of  the  seventh  circle,  it  appears  as  Phlegethon,  a 
river  of  blood;  and  finally  in  the  ninth  circle,  forming  the 
frozen  lake  of  Cocytus. 

Each  of  the  nine  circles  is  presided  over  by  a  demon  or 
monster,  or  several  of  them,  all  of  whom  are  mythological 
creations  of  the  ancient  world.  There  are  Charon,  Minos, 
Cerberus,  Plutus,  Phlegyas,  the  Furies,  the  Minotaur,  Geryon, 
and  the  giants  which  surround  the  lowest  well,— Nimrod, 
Briareus,  Ephialtes,  Typhoeus  and  Antaeus. 

Hell  is  a  state  of  final,  endless,  hopeless  suffering.  The 
punishment  of  sin  is  both  spiritual  and  corporeal.  The 
damned  suffer  the  pangs  of  regret,  of  longing  for  the  world 
which  they  have  left,  of  unsatisfied  vengeance  upon  those  who 
have  wronged  them,  of  hatred  of  each  other,  and  of  impotent 
rage  against  God.  They  have  bodies  which  cast  no  shadow, 
but  which  display  frightful  mutilations.    They  suffer  from 


INTRODUCTORY  13 

heat  and  cold;  they  are  torn  by  thorns,  pursued  and  rent  by 
hell-hounds,  transformed  into  serpents,  and  tortured  with 
itching  sores.  Dante's  representations  concerning  their  bod- 
ily investiture  are,  however,  scarcely  consistent.  When  he 
would  embrace  Casella  in  Purgatory,  his  arms  clasp  vacancy; 
but  in  the  lowest  Hell  he  seizes  Bocca  by  the  hair,  and  tears 
it  out  by  handfuls.  The  subject  of  these  bodies  was  much 
discussed  by  the  scholastic  theologians.  Vergil  in  Purg.  III. 
declares  it  to  be  a  mystery  which  God  has  not  chosen  to 
reveal.  Statins,  in  Purg.  XXV.,  attempts  a  metaphysical 
explanation,  which,  as  might  be  expected,  is  vague  and 
unsatisfactory. 

BIOGRAPHICAL 

Dante's  personality  is  so  wrought  into  the  fibre  of  the 
Commedia,  that  some  knowledge  of  his  biography  is  indis- 
pensable to  an  intelligent  reading  of  the  poem. 

The  scanty  materials  for  his  personal  history  are  derived 
from  four  sources:  his  own  works;  contemporary  documents 
relating  to  himself  and  his  family;  the  ancient  commentators; 
the  ancient  biographies. 

The  commentators  are,  of  course,  unavailable  to  those  un- 
acquainted with  Italian,  with  the  exception  of  Benvenuto  da 
Imola,  the  first  public  lecturer  on  Dante  at  Bologna,  in  1375. 
The  substance  of  his  lectures  is  given  in  the  six  volumes 
of  "Readings"  by  the  Hon.  William  Warren  Vernon.  The 
contemporary  documents  are  richer  in  the  illustration  of  the 
general  political  and  social  relations  of  Dante's  time  than  in 
personal  details.  The  matter  derived  from  these  sources  is 
scattered  through  numerous  magazines  and  monographs. 
Much  of  it,  originally  published  in  the  "BuUetino"  of  the 
Italian  Dante  Society,  has  been  reprinted  in  the  "  Transac- 
tions of  the  American  Dante  Society." 


14  THE  DIVINE  COMEDY 

All  of  Dante's  own  writings  are  accessible  in  English  trans- 
lations, as  follows: 

"  Lyric  Poems,"  by  Charles  Lyell,  London,  1835;  D.  G.  Ros- 
setti,  Lond.,  1861;  E.  H.  Plumptre,  in  the  second  volume  of 
his  Translation  of  the  Commedia,  Lond.  and  Boston,  1886-88. 
There  are  numerous  versions  of  single  Sonnets  by  diiTerent 
authors,  as  Percy  Bysshe  Shelley,  H.  F.  Cary,  J.  R.  Lowell, 
T.  W.  Parsons,  C.  E.  Norton,  Katharine  Hillard.  Many  may 
be  found  in  S.  Waddington's  "Sonnets  of  Europe,"  1886. 

"Vita  Nuova,"  by  Sir  Theodore  Martin,  Lond.,  1862;  D. 
G.  Rossetti,  Lond.,  1874,  and  included  in  his  collected  works, 
Lond.,  1890;  Charles  Eliot  Norton,  Boston,  1867;  C.  S.  Bos- 
well,  Lond.,  1895. 

"  De  Vulgari  Eloquentia,"  by  A.  G.  F.  HoweU,  Lond.,  1890. 

"Convivio,"  by  Charles  Lyell,  Lond.,  1842;  Elizabeth  P. 
Sayer,  Lond.,  1887;  Katharine  Hillard,  Lond.,  1889. 

"De  Monarchia,"  by  F.  J.  Church,  Lond.,  1879;  Aurelia 
Henry,  Boston,  1904. 

"Letters,"  by  Charles  Latham,  Boston,  1891.  "Epistle 
to  Can  Grande,"  by  Katharine  Hillard,  in  her  version  of  the 
"  Convivio." 

Of  the  old  biographers  the  earliest  and  most  important  is 
Giovanni  Villani,  in  his  "Florentine  Chronicles,"  B.  IV., 
Ch.  136.  He  furnishes  a  mere  outline  of  Dante's  life,  with 
a  brief  estimate  of  his  character  and  writings.  An  English 
version  is  given  in  "  Selections  from  the  Croniche  Florentine 
of  VUlani,"  Rose  E.  Selfe,  ed.  by  P.  H.  Wicksteed,  West- 
minster, 1897. 

The  biographies  by  Boccaccio  and  Lionardo  Bruni  are 
translated  in  "A  Provisional  Translation  of  the  Early  Lives 
of  Dante,"  by  P.  H.  Wicksteed,  1898. 

A  valuable  critical  resume  of  the  five  earlier  Biographies 
of  Dante  is  given  in  Dr.  Edward  Moore's  "Dante  and  his 
Early  Biographers,"  Lond.,  1890. 


INTRODUCTORY  15 

The  more  elaborate  biographies  are  mostly  m  German. 
Such  are  those  of  L.  G.  Blanc,  Franz  Xaver  Wegele,  G.  A. 
Scartazzini,  Franz  Xaver  Kraus.  A  very  full  and  careful 
biography  is  prefixed  to  Dean  Plumptre's  translation  of  the 
Commedia. 

Valuable  biographical  matter  will  be  found  in  the  following: 
"Companion  to  Dante,"  translated  from  G.  A.  Scartazzini  by 
Arthur  J.  Butler,  Lond.,  1893.  This  is  substantially  the  same 
as  the  "Dante  Handbook,"  by  G.  A.  Scartazzini  and  Thomas 
Davidson,  Boston,  1887.  "Dante,  his  Times  and  Work,"  by 
Arthur  J.  Butler,  Lond.,  1895  (for  beginners).  "Life  of 
Dante  Alighieri,"  by  Paget  Toynbee,  Lond.,  1900. 

A  convenient  outline  is  given  by  Edmund  G.  Gardner  in 
"Dante,"  one  of  the  series  of  "Temple  Primers." 

Every  student  should  be  familiar  with  the  admirable 
essay  on  Dante  by  James  Russell  Lowell,  in  the  second 
series  of  "Among  my  Books,"  Boston,  1876,  and  with  that 
of  Dean  R.  W.  Church,  in  "Dante  and  Other  Essays,"  Lond. 
and  N.  Y.,  1901. 

Histories  of  Florence  are  those  of  Henry  Edward  Napier, 
Lond.,  1846-47;  F.  A.  Hyett,  1903;  Dr.  Robert  Davidsohn 
(German),  Berlin,  1896—. 


\'% 


INFERNO 


CANTO  I 


Dante,  lost  and  bewildered,  finds  himself  in  a  dark  and  savage 
forest.  Escaping  from  this,  he  makes  his  way  to  the  foot  of  a 
hill  which  he  endeavors  to  ascend.  He  is  met  by  three  beasts,  a 
panther,  a  lion,  and  a  she-wolf,  which  drive  him  back  to  the  foot 
of  the  ascent.  Here  he  meets  the  shade  of  Vergil,  to  whom  he 
appeals  for  aid.  Vergil  proposes  to  deliver  him  by  conducting 
him  through  Hell  and  Purgatory,  and  afterward  committing  him 
to  the  charge  of  Beatrice,  who  will  be  his  guide  through  Heaven. 
Dante  departs  in  his  company. 

Midway  upon  the  journey  of  our  life,  a 
I  found  myself  within  a  forest  dark,  u 
For  the  right  road  was  lost.    Ah!  what  it  was —  c 
That  savage  wood,  bristling  and  obstinate, 
Which  in  the  very  thought  renews  the  fear, — 
How  hard  a  thing  it  is  to  tell!  so  great 
The  bitterness,  that  death  is  little  more.  r 

But  to  discourse  about  the  good  I  found 
Therein,  I  will  recount  the  other  things 
10  Which  there  I  marked.    How  first  I  entered  there 
I  cannot  well  relate,  I  was  so  full 
Of  drowsiness,  that  moment  when  I  left 
The  path  of  truth:  but  when  I  to  the  foot 
Had  come  of  an  ascent,  where  to  an  end 
That  valley  came  which  had  my  heart  harassed 
With  fear,  I  upward  looked,  and  mantled  now 
Beheld  its  shoulders  with  that  planet's  rays 
Which  rightly  guides  men  upon  every  path. 
My  fear  was  then  a  little  pacified, 

17 


18  THE  DIVINE  COMEDY 

20  Which,  through  the  night  passed  in  such  piteous  wise, 
In  my  heart's  lake  had  lingered;  and  as  he 
Who  from  the  deep  comes  panting  forth  to  shore, 
And  turns  him  to  the  dangerous  sea,  and  stares. 
E'en  so  my  mind,  still  speeding  onward,  turned 
Again,  to  view  the  pass  which  never  one 
Did  living  leave.    When  I  a  httle  rest 
Had  given  to  my  wearied  frame,  again 
Along  the  solitary  slope  I  took 
My  way,  in  such  wise  that  the  firmer  foot 

30  Ever  the  lower  was;  and  lo!  wellnigh 
At  the  beginning  of  the  steep,  a  pard, 
Nunble  and  very  swift,  all  covered  o'er 
With  spotted  hair;  and  from  before  my  face 
She  did  not  move;  nay,  so  she  blocked  my  way, 
That  often  to  go  back  I  turned  me  round. 
The  time  was  break  of  morning,  and  the  sun 
Was  mounting  upward,  with  those  stars  that  were 
With  him,  when  Love  divine  set  moving  first 
Those  beauteous  things;  so  that  the  hour  of  day, 

40  And  the  sweet  time  of  year  awoke  in  me 

Good  hope  of  that  wild  beast  with  dappled  skin. 
Yet  not  so  much  that  did  not  cause  me  fear 
The  aspect  of  a  lion  which  met  my  eyes. 
Coming  against  me  he  appeared  to  be. 
With  head  erect  and  hunger  ravenous. 
So  that  the  air  appeared  afraid  of  him: 
And  a  she-wolf  that,  in  her  meagreness, 
Seemed  with  all  cravings  laden,  and  has  made 
Wretched  already  many  people's  Kves. 

50  So  much  distress  that  beast  afforded  me 
With  the  dismay  that  from  her  aspect  came. 
That  hope  of  scaling  the  ascent  I  lost. 
And  such  as  he  who  gladly  gathers  gain, 


INFERNO  I  19 

And  when  the  time  arrives  which  makes  him  lose, 
Weeps,  and  in  all  his  thoughts  is  sorrowful, 
Such  made  of  me  that  beast  implacable, 
Which,  right  against  me  coming,  pushed  me  back, 
Little  by  little,  where  the  sun  is  mute. 
While  I  was  in  the  valley  blundering, 

60  Before  my  eyes  one  showed  himself, -who  seemed 
Faint  from  long  silence.    When  I  saw  him  there 
In  the  great  desert,  "Pity  me!"  I  cried, 
"Whate'er  thou  be,  or  shade,  or  real  man." 
"Not  man,"  he  answered  me;  "I  once  was  man. 
And  Lombards  were  my  parents,  and  of  both 
The  native  place  was  Mantua.    Though  late, 
Sub  Julio  I  was  born,  and  lived  at  Rome 
Under  the  good  Augustus,  in  the  time 
Of  the  false,  lying  deities.    I  was 

70  A  poet,  and  Anchises'  upright  son 
I  sang,  who  after  Ihum  proud  was  laid 
In  ashes,  came  from  Troy.    But  thou,  why  back 
To  such  vexation  art  thou  going?    Why 
Dost  not  thou  climb  the  Mountain  of  DeHght, 
Which  is  the  source  and  cause  of  every  joy?" 
"Art  thou  that  Vergil  then,  that  fount  which  pours 
So  copious  a  stream  of  speech  abroad?" 
With  brow  abashed  I  answered  him.    "0  thou, 
The  light  and  honor  of  the  other  bards, 

80  May  the  long  study  and  the  ardent  love 

Avail  me,  which  have  made  me  search  thy  book. 
Thou  art  my  master  and  my  model  thou. 
From  thee  alone  that  graceful  style  I  took. 
The  which  has  done  me  honor.    See  that  beast 
Because  of  which  I  turned!    0  sage  renowned. 
Save  me  from  her;  for  she  with  tremor  fills 
My  veins  and  pulses."    When  he  saw  me  weep, 


20  THE  DIVINE  COMEDY 

He  said:  "Thou  needs  must  go  another  road, 
If  thou  wouldst  from  this  savage  place  escape: 
90  Because  this  beast  at  which  thou  criest  out, 
Allows  not  men  to  pass  her  way,  but  so 
Impedes  them,  that  she  kills  them;  and  she  has 
A  nature  so  malign  and  bad,  that  ne'er 
Her  ravening  greed  is  sated;  and  when  fed. 
She  is  more  hungry  than  before.    She  weds 
With  many  an  animal,  and  will  with  more. 
Until  shall  come  the  Greyhound,  who  with  pain 
Will  make  her  die.    Not  land  or  pelf  shall  be 
His  fare,  but  wisdom,  valor,  love.    Between 

100  Feltro  and  Feltro  shall  his  nation  be. 
Of  that  low-lying  Italy  he  will 
Be  the  salvation,  for  the  sake  of  which 
Camilla,  virgin,  died,  and  of  their  wounds 
Turnus,  and  Nisus,  and  Euryalus. 
Through  every  town  he  will  give  chase  to  her, 
Till  he  have  put  her  into  Hell  again. 
Whence  Envy  at  the  first  did  set  her  loose. 
I  therefore,  for  thy  profit,  think  and  judge 
That  thou  shouldst  follow  me,  and  I  will  be 

110  Thy  guide,  and  hence  through  an  eternal  place 
Conduct  thee,  where  thou  the  despairing  shrieks 
Shalt  hear,  and  in  their  misery  shalt  see 
The  ancient  spirits,  each  of  whom  cries  out 
Upon  the  second  death.    And  thou  shalt  see 
Those  who  are  in  the  fire  content,  because. 
Whene'er  the  time  may  be,  they  hope  to  come 
To  where  the  blessed  are:  to  whom  if  thou 
Wouldst  afterward  ascend,  for  that  shall  be 
A  spirit  worthier  than  I  assigned; 

120  And  I  with  her  will  leave  thee  when  I  part. 
For  since  I  was  rebellious  to  his  law, 


INFERNO  I  21 

That  Emperor  who  there  above  bears  rule 
Decrees  that  with  my  escort  none  shall  come 
Into  his  city.    He  in  every  place 
Governs,  and  there  he  reigns:  his  city  there, 
There  his  exalted  seat:  0  happy  he 
Whom  he  elects  thereto!"    And  I  to  him: 
"0  Poet,  by  that  God  thou  didst  not  know, 
In  order  that  I  may  escape  this  ill, 
130  And  worse,  I  pray  thee  lead  me  to  that  place 
Which  thou  just  now  didst  mention;  so  that  I 
May  see  Saint  Peter's  gate,  and  those  whom  thou 
Describest  as  so  sad."    Then  he  moved  on, 
And  following  after  him  I  held  my  way. 


CANTO  II 

Dante  prepares  for  his  journey.  The  Muses  are  invoked.  Dant 
is  haunted  ivith  misgivings.  Vergil  rebukes  his  cowardice 
and  relates  how  Beatrice  visited  him  in  Limbo,  and  sent  hin 
to  Dante's  aid.  Dante  declares  himself  encouraged  and  read\ 
to  set  out. 

Day  was  departing,  and  the  dusky  air 

Releasing  from  their  toils  the  animals 

Which  are  on  earth;  and  I,  all,  all  alone, 

Prepared  myself  to  undergo  the  stress 

Both  of  the  journey  and  the  suffering. 

Which  memory  that  errs  not  shall  portray. 

Now  Muses,  aid  me!    Lofty  genius,  aid! 

0  Memory,  who  hast  written  what  I  saw, 

Here  shall  thy  nobleness  be  manifest. 
10 1  thus  began:  "Poet,  who  guidest  me, 

Consider  well  my  power  if  it  suffice. 

Ere  thou  commit  me  to  the  arduous  road. 

Thou  sayest  Silvius'  father,  mortal  still, 

Went  to  the  world  immortal,  and  was  there 

Bodily-wise.    If  gracious  then  to  him 

The  Adversary  of  all  evil  was, — 

Considering  the  great  result,  from  him 

Destined  to  issue,  and  the  who  and  what, — 

This,  to  a  man  of  understanding,  seems 
20  Not  unbefitting;  for  of  sacred  Rome 

And  of  her  empire,  he,  in  highest  Heaven, 

Was  chosen  to  be  father;  both  of  which. 

To  say  the  truth,  were  for  the  holy  place 

Decreed,  where  he  who  the  successor  is 

Of  greater  Peter,  sits.    Things  which  the  cause 

22 


INFERNO  II  23 

Were  of  his  triumph  and  the  papal  robe, 

He  learned  upon  that  journey,  for  the  which 

Thou  dost  extol  him.    Thither,  afterward. 

The  ^chosen  vessel'  went,  to  bring  back  thence 
30  A  confirmation  to  that  faith  wherein 

Salvation's  way  begins.    But  as  to  me, 

Why  go  I  thither,  or  who  suffers  it? 

Aeneas  I  am  not,  nor  am  I  Paul: 

Worthy  of  this  nor  I  nor  others  deem  me. 

And  therefore,  if  I  yield  myself  to  go, 

I  fear  my  going  may  be  folly.    Thou 

Art  wise,  and  knowest  better  than  I  speak." 

And  as  he  is  who  what  he  willed  unwills. 

And  changes  his  design  on  second  thought, 
40  So  that  he  wholly  quits  what  he  began, — 

Such  I  became  upon  that  hillside  dim. 

Because,  in  thinking,  I  forsook  the  emprise, 

Which  was  begun  so  hastily.    "If  I 

Have  rightly  understood  thy  words,"  replied 

That  shade  of  the  high-minded  one,  "  thy  soul 

By  cowardice  is  staggered,  which,  ofttimes. 

Cumbers  a  man  so  that  it  turns  him  back 

From  noble  enterprise,  as,  when  it  shies. 

False-seeing  does  a  beast.    That  from  this  fear 
50  Thou  mayst  be  freed,  I'll  tell  thee  why  I  came. 

And  what  I  heard  at  the  first  moment  when 

Sorrow  I  felt  for  thee.    I  was  with  those 

Who  are  suspended  between  joy  and  woe; 

And  me  a  lady  called,  so  blest  and  fair. 

That  her  commands  I  begged  to  know.    Her  eyes 

Shone  brighter  than  the  star;  and  she  began, 

With  voice  angelic  in  her  speech,  to  say, 

Softly  and  low,  to  me:  '0  Mantuan  soul. 

Courteous,  whose  fame  still  in  the  world  survives. 


24  THE  DIVINE  COMEDY 

60  And  will  endure  so  long  as  motion  lasts, — 
My  friend,  not  Fortune's  friend,  is,  on  his  way 
Upon  the  desert  slope,  so  hindered,  that 
For  fright  he  has  turned  back;  and  I  do  fear, 
From  what  I  have  in  Heaven  heard  of  him, 
That  he  ah-eady  is  so  far  astray. 
That  I  have  risen  too  late  to  succor  him. 
Now  do  thou  move;  and  with  thine  ornate  speech, 
And  with  whate'er  for  his  dehverance 
Is  needful,  aid  him  so,  that  I  may  be 

70  Consoled  thereby.    I  who  am  sending  thee 
Am  Beatrice.    From  a  place  I  am  come 
Whither  I  would  return.    Love  prompted  me, 
Which  makes  me  speak.    Ofttimes,  when  I  shall  be 
Before  my  Lord,  I  will  commend  thee  to  him.' 
Then  she  was  silent,  and  I  straight  began: 
*Lady  of  virtue,  thou  through  whom  alone 
The  human  race  surpasses  all  contained 
Within  that  heaven  which  has  the  smallest  orb, 
So  grateful  to  me  thy  conmiandment  is, 

80  That  my  obedience,  even  though  it  were 
Already  rendered,  would  be  slow  to  me. 
For  thee  to  open  further  thy  desire 
To  me,  there  is  no  need.    But  tell  me  what 
The  cause  is  that  thou  dost  not  hesitate 
Down  hither  to  this  centre  to  descend. 
From  the  vast  region  whither  to  return 
Thou  burnest.'    'Since  a  knowledge  so  profound 
Thou  dost  desire,'  she  answered,  'I  will  tell. 
Briefly,  to  thee  why  I  am  not  afraid 

90  To  enter  here.    Those  things  alone  which  have 
The  power  to  injure  people  should  be  feared: 
And  not  the  rest,  for  dreadful  they  are  not. 
Such,  in  his  goodness,  I  am  made  by  God, 


INFERNO  II  25 

That  me  your  misery  does  not  affect, 
Nor  of  this  burning  does  the  flame  assail. 
In  Heaven  is  a  noble  dame,  who  grieves 
So  sorely  for  this  hindrance  whereunto 
I  send  thee,  that,  up  yonder,  judgment  stern 
She  breaks.    To  Lucia  she  betook  herself 

100  In  her  petition,  saying:  'Now  of  thee 

Thy  faithful  one  has  need,  and  to  thy  charge 

I  do  commit  him.'    Lucia,  enemy 

Of  every  cruel  thing,  bestirred  herself, 

And  to  the  place  repaired  where  I  was  sitting 

With  ancient  Rachel,  and  she  said  to  me: 

'Beatrice,  God's  true  praise,  why  dost  thou  not 

Fly  to  the  help  of  him  who  loved  thee  so. 

That  he  for  thee  forsook  the  vulgar  throng?       "" 

Hearest  thou  not  how  piteous  is  his  plaint? 

110  Dost  thou  not  see  the  death  that  battle  joins 
With  him,  upon  the  stream  o'er  which  the  sea 
No  vantage  has?'    On  earth  were  never  folk 
So  swift  to  make  their  gain  or  flee  their  hurt, 
As  I  to  come,  after  these  words  were  said, 
Down  hither  from  my  blessed  seat,  my  trust 
Reposing  in  thy  sterling  speech,  which  does 
Honor  to  thee  and  to  thy  listeners.' 
This  said,  she  turned  away  her  sparkling  eyes, 
Weeping,  whereby  she  made  me  hasten  more 

120  To  come;  and  thus,  as  she  desired,  I  came 
To  thee.    I  took  thee  from  before  that  beast 
That  stopped  thy  going  to  the  mountain  fair 
By  the  short  road.    What  is  it  then?    Why,  why 
Dost  thou  delay?    Why  dost  thou  in  thy  heart 
Such  cowardice  invite?    Why  hast  thou  not 
Daring  and  bold  assurance,  when  for  thee 
In  Heaven's  court  are  three  such  blessed  dames 


26  THE  DIVINE  COMEDY 

Concerned,  and  so  much  benefit  to  thee 

My  speech  engages?"    As  the  flowrets,  bowed 

130  And  closed  by  chill  of  night,  erect  themselves 
All  open  on  their  stems,  when  whitens  them 
The  sun,— thus  I  revived  my  flagging  power, 
And  such  good  courage  flowed  into  my  heart, 
That  like  to  one  emboldened  I  began: 
"0  she  compassionate  that  succored  me. 
And  coiu-teous  thou  who  promptly  didst  obey 
The  truthful  words  which  she  addressed  to  thee, 
Thou  hast  disposed  my  heart  with  such  desire 
To  go,  by  what  thou  sayest,  that  I  have 

140  Returned  to  my  first  purpose.    Forward  now. 
For  one  sole  will  is  in  us  both.    Thou  art 
The  Leader,  thou  the  Lord,  the  Master  thou." 
Thus  I  to  him;  and  when  he  had  moved  on, 
I  entered  by  the  steep  and  savage  way. 


CANTO  III 

Dante  reads  the  inscription  over  the  gate  of  Hell.  He  is  troubled 
by  the  words,  but  is  comforted  by  Vergil.  They  enter  the  gate. 
Vergil  describes  the  character  and  punishment  of  the  neutral 
spirits.  They  see  a  banner  running  swiftly  round  the  circle 
followed  by  a  train  of  spirits.  The  shade  of  Pope  Celestine  V.. 
Acheron  and  Charon.  Charon  warns  Dante  away,  but  is 
quieted  by  Vergil.  The  spirits  on  the  bank  enter  Charon's 
boat.  An  earthquake-shock  and  a  great  wind  are  felt,  and 
Dante  falls  senseless. 

Through  me  the  way  is  to  the  city  sad, 
Through  me  the  way  is  to  eternal  woe, 
Through  me  the  way  among  the  people  lost. 
Justice  did  my  exalted  maker  move; 
Omnipotence  divine  created  me, 
Wisdom  supreme,  and  love  original. 
Before  me  there  were  no  created  things. 
Save  things  eternal,  and  i  last  forever: 
All  hope  abandon  ye  who  enter  here! 

10  These  words,  in  color  dark,  above  a  gate 

I  saw  inscribed;  and  thereupon  I  said: 

"Master,  they  bear  a  grievous  sense  to  me." 

And  he  to  me,  as  one  expert,  replied: 

"Here  all  suspicion  must  be  left  behind: 

All  cowardice  must  be  extinguished  here: 

We  to  the  place  are  come  where  I  have  told  thee 

That  thou  shouldst  see  the  people  woe-begone, 

Who  have  the  good  of  understanding  lost." 

And  after  he  had  laid  his  hand  on  mine, 
20  With  cheerful  countenance,  which  heartened  me, 

Within  he  brought  me,  to  the  secret  things. 

27 


28  THE  DIVINE  COMEDY 

Here  through  the  starless  air  resounded  sighs, 
Laments,  and  wailings  shrill,  whence  I,  at  first, 
Began  to  weep.    Strange  languages,  and  tongues 
Horrible,  words  of  anguish,  tones  of  wrath, 
And  voices  loud  and  faint,  and  sound  of  hands 
With  these,  a  tumult  made  which,  endlessly, 
Is  swirling  in  that  air  of  timeless  gloom, 
Like  sand  which  eddies  at  the  whirlwind's  blast. 

30  And  I,  my  head  begirt  with  horror,  said: 
"Master,  what  is  it  that  I  hear,  and  who 
Are  they  that  seem  so  overcome  with  pain?" 
And  he  to  me:  "The  wretched  souls  of  those 
Whose  hves  devoid  of  infamy  and  praise 
Were  spent,  maintain  this  miserable  way. 
They  are  commingled  with  that  evil  band 
Of  angels,  who  nor  rebels  were,  nor  true 
To  God,  but  who  were  by  themselves.    The  Heavens 
Expelled  them,  not  to  be  less  beautiful; 

40  And  the  deep  Hell  receives  them  not,  because 

The  damned  would  have  somewhat  to  boast  of  them/ 

And  I:  "My  Master,  what  distress  so  sore 

Is  theirs,  that  makes  them  mourn  so  bitterly?" 

"Full  briefly,"  he  replied,  "I'll  tell  it  thee. 

No  hope  of  death  have  these,  and  their  bUnd  life 

Is  so  debased,  that  they  are  envious 

Of  every  other  lot.    Repute  of  them 

The  world  allows  not  to  exist.    AUke 

Mercy  and  Justice  spurn  them.    Let  us  not 

60  Talk  about  them,  but  look,  and  pass  them  by." 
And  I  who  looked,  a  banner  saw,  which  ran, 
Whirling,  so  swiftly  that  it  seemed  to  spurn 
All  pause;  and  after  it  so  long  a  train 
Of  people  came,  that  I  would  ne'er  have  deemed 
That  death  so  many  had  undone.    When  some 


INFERNO  III  29 

I  there  had  recognized,  I  saw  and  knew 

The  shade  of  him  who  made,  through  cowardice, 

The  great  refusal.    I  perceived  forthwith 

And  was  assured  that  this  the  company 
60  Was  of  the  caitiffs,  hateful  both  to  God, 

And  to  his  enemies.    These  wretches,  who 

Ne'er  were  alive,  were  naked,  and  were  much 

By  gadflies  goaded,  and  by  wasps,  which  had 

Their  dwelling  there.    Their  faces  these  bedewed 

With  blood,  which,  mixed  with  tears,  was  at  their  feet 

Gathered  by  loathsome  worms.    And  when  I  turned 

My  gaze  beyond,  a  crowd  upon  the  bank 

Of  a  great  stream  I  saw;  whereat  I  said: 

"Now  Master  grant  to  me  that  I  may  know 
70  Who  these  are,  and  what  usage  makes  them  seem 

So  ready  to  pass  over,  as  I  see 

By  the  dim  Hght."    And  he  to  me:  "These  things 

Will  be  made  known  to  thee,  when  we  shall  stay 

Our  steps  on  the  sad  shore  of  Acheron." 

Then  with  abashed  and  downcast  eyes,  for  fear 

My  talking  had  been  wearisome  to  him. 

As  far  as  to  the  river  I  refrained 

From  speaking.    And  behold,  an  old  man,  white 

With  locks  of  age,  toward  us,  in  a  boat 
80  Coming,  and  crying:  "Woe  to  you,  bad  souls! 

Hope  never  to  see  Heaven!    I  come  to  bring 

You  to  the  other  shore,  into  the  gloom 

Eternal,  into  heat  and  into  frost. 

And  thou,  thou  living  soul  there,  from  those  dead 

Begone!"    But  seeing  that  I  did  not  go, 

He  said:  "By  other  way,  by  other  ports. 

Thou  to  the  shore  shalt  come;  to  pass,  not  here. 

A  Hghter  boat  must  bear  thee."    And  to  him 

My  Guide:  "Charon,  vex  not  thyself:  it  is 


30  THE  DIVINE  COMEDY 

90  So  willed,  there  where  is  power  to  perform 
That  which  is  willed :  and  further  question  not." 
After  these  words,  quiet  the  fleecy  chaps 
Were,  of  the  pilot  of  the  livid  marsh. 
Who  round  about  his  eyes  had  wheels  of  flame. 
But  those  tired,  naked  souls  their  color  changed, 
And  gnashed  their  teeth,  soon  as  the  cruel  words 
They  heard.    God  and  their  parents  they  blasphemed; 
The  human  kind,  the  place,  the  time,  the  seed 
Of  their  engendering  and  of  their  birth. 

100  Then,  weeping  bitterly,  they  all  repaired 
Together  to  the  shore  accurst,  which  waits 
Each  man  that  fears  not  God.    Charon  the  fiend, 
With  fiery  eyes,  beckoning,  collects  them  all, 
Beats  with  his  oar  each  one  who  tries  to  sit. 
As,  one  the  other  following,  the  leaves 
Detach  themselves  in  Autumn,  till  the  branch 
Sees  all  its  spoils  upon  the  ground, — just  so 
The  evil  seed  of  Adam,  one  by  one. 
Cast  themselves  at  his  signals  from  that  shore, 

110  Like  bird  at  its  recall:  so  on  their  way 

O'er  the  dark  wave  they  go,  and  ere  they  land 
Upon  the  farther  side,  on  this  side  is 
Assembled  a  fresh  company.    "My  son," 
The  courteous  Master  said:  "All  those  who  die 
Under  the  wrath  of  God,  from  every  landf 
Assemble  here,  and  eager  are  to  cross 
The  stream,  because  God's  justice  spurs  them  so, 
That  fear  is  changed  to  longing.    A  good  soul 
Doth  never  pass  this  way.    If  then  Charon 

120  Complain  of  thee,  thou  now  canst  understand 
Full  well  the  import  of  his  words."    This  said. 
The  gloomy  plain  so  violently  shook. 
That  even  now  the  memory  of  my  fright 


INFERNO  III  31 

Bathes  me  with  sweat.    The  tearful  land  gave  forth 
A  wind  that  flashed  a  crimson  light,  which  all 
My  senses  overpowered,  and  like  a  man 
Whom  slumber  seizes  suddenly,  I  fell. 


CANTO  IV 

Dante  is  awakened  from  his  swoon  by  a  heavy  thunder-peal.  He 
finds  himself  on  the  brink  of  the  first  circle.  Limbo.  A  bright 
light  is  seen  in  the  distance,  and  as  Dante  and  Vergil  approach 
it  they  are  met  by  four  great  poets  who  salute  Vergil.  They 
welcome  Dante  as  one  of  their  member.  They  all  arrive  at  a  great 
castle,  within  which  is  a  green  meadow,  where  are  seen  numerous 
spirits  of  famous  persons.  The  company  separates,  and  Vergil 
leads  Dante  to  the  second  circle. 

A  heavy  thunder  broke  the  slumber  deep 

Within  my  head,  so  that  I  roused  myself, 

Like  to  a  person  who  by  force  is  waked: 

And,  risen  upright,  my  rested  eye  I  moved 

Around  me,  and  intently  gazed  to  know 

The  place  in  which  I  was.    Upon  the  brink, 

In  sooth,  I  found  me  of  the  woful  vale 

Of  the  abyss,  which  thunder  gathers  up 

Of  endless  wails.    So  dark  and  deep  it  was, 
10  So  full  of  cloud,  that  though  I  fixed  my  gaze 

Upon  the  depth,  I  nothing  there  descried. 

"Now  here  below  into  the  world  obscure 

Let  us  descend:"  began  the  Bard,  all  pale. 

"I  will  be  first,  and  thou  shalt  second  be." 

And  I,  who  had  remarked  his  color,  said: 

"How  shall  I  come  if  thou  art  fearful— thou 

Who  comfort  in  my  doubt  art  wont  to  be?" 

And  he  to  me:  "The  anguish  of  the  folk 

Who  are  down  here,  depicts  upon  my  face 
20  The  pity  which  thou  dost  mistake  for  fear. 

Let  us  go  on:  the  long  way  calls  for  haste." 

And  into  the  first  cu-cle  which  engirds 

The  gulf,  he  thus  did  put  hunself,  and  thus 

32 


INFERNO  IV  33 

He  made  me  enter.    Here  there  was  no  plaint, 

So  far  as  one  could  hear,  except  of  sighs 

Which  made  the  air  eternal  shake;  and  this 

Arose  from  sorrow  without  torment,  which 

Suffered  the  crowds  so  numerous  and  great, 

Of  women,  babes,  and  men.    The  master  good 
30  To  me:  "Dost  not  thou  ask  what  souls  are  these 

Whom  thou  beholdest?    I  would  have  thee  know, 

Now,  ere  thou  goest  on,  these  did  not  sin: 

And  though  they  have  deserts,  'tis  not  enough. 

Because  they  had  not  baptism,  which  is  part 

Of  that  faith  which  thou  boldest;  and  if  they 

Were  before  Christianity,  to  God 

They  rendered  not  due  worship;  and  of  these 

Am  I  myself:  we  for  defects  like  these. 

Are  lost,  and  not  for  other  guiltiness; 
40  And  only  harmed  so  far  that  without  hope. 

We  live  in  longing."    Hearing  this,  great  grief 

Laid  hold  upon  my  heart,  because  I  knew 

Most  worthy  folk  who  in  that  Limbo  were 

Suspended.    "Say  to  me,  0  Master  mine, 

Sir,  tell  me,"  I  began,  moved  by  desire 

To  be  assured  respecting  that  belief 

Which  every  doubt  subdues,— "Did  ever  one, 

By  his  own  merit  or  another's,  go 

Forth  from  this  place,  who  afterward  was  blest?" 
50  And  he,  who  did  my  covert  speech  detect, 

Replied:  "I  was  a  novice  in  this  state. 

When  hither  I  saw  come  a  mighty  one, 

With  sign  of  triumph  crowned.    Hence  he  drew  forth 

The  shade  of  our  first  parent,  of  his  son, 

Abel,  and  that  of  Noah;  of  Moses  too. 

The  legislator,  and  obedient; 

Abraham,  patriarch,  and  David,  king; 


34  THE  DIVINE  COMEDY 

And  Israel,  with  his  father  and  his  sons, 
Along  with  Rachel,  for  whose  sake  he  did 

60  So  much;  and  many  more,  and  made  them  blest 
And  I  would  have  thee  know  that,  before  these, 
No  human  souls  were  saved."    We,  for  his  talk. 
Did  not  cease  going  on,  but  all  the  while. 
The  wood  were  traversing,  the  wood,  I  mean, 
Of  crowded  spirits.    Far  we  had  not  gone. 
As  yet,  from  where  I  slumbered,  when  I  saw 
A  fire,  which  overcame  a  hemisphere 
Of  darkness.    We  were  still  a  little  way 
From  this,  but  not  so  far  that  I  did  not 

70  Partly  discern  what  honorable  folk 

Possessed  that  place.    "0  thou  who  dost  adorn 

Each  art  and  science,  who  are  these  who  have 

Such  mark  of  honor,  that  it  separates 

Them  from  the  fashion  of  the  rest?"    And  he: 

"Their  honorable  fame,  which,  in  thy  life 

Above,  is  heard,  in  Heaven  favor  wins 

For  them,  which  thus  advances  them."    Meanwhile, 

A  voice  was  heard  by  me:  "All  honor  be 

To  the  illustrious  Poet.    Back  to  us 

80  His  shade  is  come  which  had  departed."    When 
The  voice  had  ceased  and  quiet  was,  I  saw 
Four  grand  shades  coming  to  us,  in  then*  mien 
Nor  sorrowful  nor  glad.    The  kindly  Master 
Began  to  say:  "Him  with  that  sword  in  hand 
Behold,  who  as  a  lord  precedes  the  three. 
That  one  is  Homer,  prince  of  bards:  the  next 
That  comes,  is  Horace,  moralist:  the  third 
Is  Ovid,  and  the  last  is  Lucan.    Since 
Each  shares  with  me  the  name  that  single  voice 

90  Proclaimed,  they  do  me  honor,  and  therein 
Do  well."    Thus,  of  those  lords  of  loftiest  song 


INFERNO  IV  35 

Which,  like  an  eagle,  soars  above  the  rest, 

The  goodly  school  I  saw  assembled.    They, 

After  they  had  together  talked  awhile, 

With  gesture  of  salute  toward  me  turned; 

And  at  so  much  respect  my  Master  smiled. 

And  much  more  honor  still  they  paid  to  me; 

For  of  their  band  they  made  me,  so  that  I 

'Mid  so  much  wisdom  was  the  sixth.    We  thus 
100  Far  as  the  light  went  on,  with  talk  of  things 

Whereof  is  silence  seemly,  as  was  speech 

There  where  I  was.    We  at  the  foot  arrived 

Of  a  grand  castle,  circled  seven  times 

With  lofty  walls,  and  by  a  streamlet  fair 

Defended  round  about.    O'er  this  we  passed, 

As  over  solid  ground.    Through  seven  gates 

I  entered  with  those  sages.    To  a  mead 

Of  verdure  fresh  we  came.    Upon  it  were 

People  with  eyes  deliberate  and  grave, 
110  And  in  their  looks  of  great  authority. 

They  spake  but  seldom,  and  with  voices  soft. 

We  therefore  on  one  side  withdrew  ourselves 

Into  a  place  that  open  was,  and  light, 

And  lofty,  so  that  they  could  all  be  seen. 

There,  opposite,  on  the  enamel  green, 

Were  shown  me  the  great  souls,  whom  having  seen, 

I  in  myself  exult  thereat.    I  saw 

Electra,  with  companions  numerous. 

And  among  them  I  Hector  recognized, 
120  iEneas  too,  and  Caesar,  falcon-eyed, 

In  arms:  Camilla  and  Penthesilea 

I  saw;  and  on  the  other  side,  the  king 

Latinus,  who  did  with  his  daughter  sit, 

Lavinia;  Brutus,  Tarquin's  banisher; 

Lucretia,  Julia,  Marcia,  and  Cornelia: 


36  THE  DIVINE  COMEDY 

And  Saladin,  alone,  aside,  I  saw. 
When  I  had  raised  my  eyes  a  little  higher, 
The  master  I  beheld  of  those  who  know. 
Amid  a  philosophic  household  sit. 

130  All  gaze  at  him:  all  pay  him  honor:  here 
I  Socrates  and  Plato  saw,  who  are 
In  front  of  all  the  rest,  and  nearest  him : 
Democritus,  who  lays  the  world  to  chance, 
And  Anaxagoras,  Diogenes, 
Thales,  and  Zeno,  and  Empedocles, 
And  Heraclitus:  Dioscorides, 
Good  gatherer  of  qualities,  I  saw; 
And  Orpheus,  Tully,  moral  Seneca, 
And  Linus;  EucUd  the  geometer, 

140  And  Galen,  Ptolemy,  Hippocrates, 
And  Avicenna,  and  Averroes 
Who  the  great  Comment  made:  of  all  in  full 
I  cannot  give  account;  for  the  long  theme 
So  drives  me  on,  that,  often,  of  the  fact 
The  words  come  short.    To  two  diminishes 
The  group  of  six;  and  me  the  guide  discreet 
Forth  from  the  calm  leads,  by  another  road. 
Into  the  air  that  trembles;  and  I  come 
Into  a  place  where  nought  illuminates. 


CANTO  V 

The  entrance  to  the  second  circle.  Minos.  He  warns  Dante 
against  entering.  The  two  poets  come  to  a  place  utterly  dark, 
and  resounding  with  the  roar  of  a  hurricane  which  drives  the 
spirits  before  it.  Vergil  tells  Dante  that  these  are  the  spirits 
of  the  luxurious  and  licentious,  and  points  out  several  of  them 
by  name.  Francesca  da  Rimini  and  her  lover.  Francesca 
tells  her  story,  and  Dante,  overcome  with  pity,  falls  senseless. 

From  the  first  circle  thus  did  I  descend 

Into  the  second,  which  less  space  engirds, 

But  suffering  so  much  greater,  that  it  goads 

To  wailing.    Minos  there,  in  fearful  wise. 

Stands  with  a  snarl,  and  at  the  entrance  tries 

Transgressions,  judgment  gives,  and  downward  sends 

According  as  he  girds  himself.    I  mean. 

That  when  into  his  presence  comes  the  soul 

To  evil  born,  it  full  confession  makes; 
10  And  that  discerner  of  transgressions  sees 

What  is  its  place  in  Hell,  and  with  his  tail, 

As  many  times  as  the  degrees  he  wills 

That  downward  it  be  sent,  engirds  himself. 

Always  before  him  many  of  them  are : 

Each  in  its  turn  to  judgment  goes:  they  speak. 

And  hear,  and  then  below  are  hurled.    "0  thou 

That  comest  to  the  doleful  inn,"  to  me 

Said  Minos  when  he  saw  me,  the  discharge 

Of  so  grave  office  leaving,— "  take  good  care 
20  How  here  thou  enterest,  and  in  whom  thy  trust 

Thou  puttest.    Let  the  entry's  amplitude 

Deceive  thee  not."    To  him  my  Guide  replied: 

"  Why  art  thou  also  clamoring?    Do  not 

37 


38  THE  DIVINE  COMEDY    . 

Hinder  his  destined  journey.    So  'tis  willed 
Where  what  is  willed  there  is  the  power  to  do: 
And  ask  no  more."    Now  do  the  notes  of  woe 
Begin  to  force  themselves  upon  my  ear. 
Now  I  am  come  where  lamentation  great 
Smites  me.    A  place  I  reached,  of  every  light 

30  Deprived,  which  bellows  as  the  ocean  does 
In  tempest,  when  assailed  by  warring  winds. 
The  infernal  hurricane  which  never  rests. 
Carries  along  the  spirits  in  its  sweep. 
And  with  its  whirl  and  scourge  harasses  them. 
There  are,  when  they  before  its  rush  arrive. 
Shrieks,  plaining,  lamentation;  there  they  curse 
The  power  divine.    I  understood  that  doomed 
To  torment  such  the  carnal  sinners  are. 
Who  reason  to  the  appetite  subject. 

40  And  as  their  wings  the  starlings  bear  along, 
In  the  cold  season,  in  a  broad,  dense  flock,— 
So  does  that  blast  those  evil  spirits  bear. 
It  sways  them  to  and  fro,  and  up  and  down, 
Forevermore  unsoothed  by  hope  of  rest. 
Or  milder  penalty:  and  as  the  cranes 
Go  trumpeting  their  plaintive  cry,  in  air 
Making  a  long  hne  of  themselves,  so  I 
Beheld,  with  long-drawn  wails  advancing,  shades 
Swept  on  by  that  same  tempest;  whereupon 

50  I  said:  "My  Master,  who  are  yonder  folk 

Whom  the  black  air  thus  lashes?"    Then  to  me 

He  said:  "The  first  of  those  of  whom  thou  wouldst 

Hear  tidings.  Empress  was  of  many  tongues. 

To  vice  of  luxury  abandoned  so 

She  was,  that  in  her  statute  lust  she  made 

Legitimate,  to  take  away  the  shame 

She  had  incurred.    She  is  Semiramis, 


INFERNO  V  39 

Of  whom  we  read  that  she  to  Ninus  was 

Successor,  and  his  wife.    She  held  the  land 
60  O'er  which  the  Sultan  rules.    The  next  is  she 

Who,  all  enamored,  slew  herself,  and  faith 

Broke  with  the  ashes  of  Sichaeus.    Then, 

Comes  wanton  Cleopatra.    Helen  see. 

For  whom  so  long  a  time  of  guilt  revolved: 

And  see  the  great  Achilles  who,  with  love 

Allied,  contended  to  the  last:  behold 

Paris,  Tristan!"  and  shades  to  me  he  showed 

More  than  a  thousand,  and  their  names  to  me 

He,  pointing  with  his  finger,  told,  whom  love 
70  Had  from  our  life  divorced.    When  I  had  heard 

My  Teacher  name  the  dames  of  olden  time, 

And  cavaliers,  compassion  came  on  me, 

And  as  if  dazed  I  was.    And  I  began: 
►     "Poet,  I  gladly  with  those  two  would  speak. 

Who  go  together,  and  upon  the  wind 

Appear  to  be  so  light."    And  he  to  me: 

"Observe  when  they  shall  nearer  to  us  be; 

And  then  do  thou  entreat  them,  by  that  love 

Which  bears  them  on,  and  they  will  come  to  thee." 
80  Soon  as  the  wind  toward  us  swings  them  round, 

I  raise  my  voice:  "0  weary  spirits,  come 

And  talk  with  us;  unless  denies  you  this 

Another."    As,  with  pinions  poised  and  set. 

Doves  to  the  sweet  nest  come,  by  longing  called. 

By  their  own  will  borne  on  athwart  the  air,— 

Thus  from  the  band  where  Dido  is,  they  came, 

Advancing  toward  us  through  the  noisome  air; 

Such  was  the  power  my  loving  summons  had. 

"0  living  creature,  gracious  and  benign, 
90  Who  threadest  the  black  air  to  visit  us 

Who  stained  the  world  blood-red,  if  were  our  friend 


40  THE  DIVINE  COMEDY 

The  Sovereign  of  the  universe,  we  would 
Entreat  him  for  thy  peace,  because  thou  hast 
Compassion  for  our  fearful  misery. 
Of  that  whereof  it  pleases  thee  to  hear 
And  speak,  we  will  both  hear  you,  and  will  speak 
To  you,  while  quiet  keeps  for  us,  as  now, 
The  wind.    Upon  the  seashore  sits  the  town 
Where  I  was  born;  where  Po  descends  to  rest, 

100  With  his  attendant  streams.    Love,  who  so  swift 
Is  to  lay  hold  upon  the  noble  heart. 
Seized  upon  this  one  for  the  person  fair 
Of  which  I  was  bereft;  and  still  the  mode 
A  mischief  is  to  me.    Love,  who  absolves 
No  one  beloved  from  loving,  with  desire 
Of  pleasing  him,  so  stronglv  seized  on  mg, 
That,  as  thou  seest,  it  still  forsakes  me  not. 
Love  brought  us  to  one  death.    Cama  waits 
For  him  who  quenched  our  Ufe."    These  words  from  them 

110  Were  borne  to  us.    As  soon  as  I  had  heard 
Those  stricken  souls,  my  face  I  bowed,  and  down 
I  held  it,  till  the  Poet  said  to  me : 
"What  art  thou  thinking  of?"    When  I  replied, 
I  thus  began:  "Alas,  how  many  were 
The  musings  sweet:  how  great  the  longing  was, 
Which  brought  these  souls  to  such  a  woful  pass!" 
Then  back  to  them  I  turned  me,  and  began 
To  speak:  "Francesca,  me  thy  sufferings  make, 
Even  to  tears,  compassionate  and  sad. 

120  But  tell  me— at  the  time  of  the  sweet  sighs. 
At  what,  and  how  Love  granted  thee  to  know 
Thy  longings  unconfessed?"    And  she  to  me: 
"There  is  no  greater  pain  than  to  recall. 
In  misery,  the  time  of  happiness: 
And  this  thy  Teacher  knows.    But  if  thou  hast 


INFERNO  V  41 

So  much  desire  our  love's  first  root  to  know, 
I  will,  as  one  who  mingles  tears  and  words. 
The  story  tell.    For  pastime,  we,  one  day. 
Were  reading  about  Launcelot,  how  Love 

130  Enthralled  him.    All  alone  we  were,  and  nought 
Suspecting.    Oft  our  eyes  that  reading  urged 
To  meet,  and  drove  the  color  from  each  face. 
But  that  which  overcame  us  was  one  place 
Alone.    When,  how  the  smile  that  woke  desire 
Was  kissed  by  lover  such  as  he,  we  read. 
This  one  who  never  shall  be  parted  from  me, 
All  trembhng,  kissed  my  mouth.    Galeotto  was 
The  book,  and  he  that  wrote  it.    We,  that  day. 
No  further  read  therein."    While  the  one  soul 

140  Spoke  thus,  the  other  one  was  wailing  so. 
That  I,  for  pity,  as  if  dying,  swooned; 
And  down  I  fell,  as  a  dead  body  falls. 


CANTO  VI 

Dante  awakes  in  the  third  circle,  and  finds  the  Gluttons,  who  are 
exposed  to  a  furious  rain,  and  are  tormented  by  Cerberus,  who 
menaces  the  poets,  but  is  quieted  by  Vergil.  Dante  is  accosted 
by  Ciacco,  and  learns  the  future  fortunes  of  the  Whites  and 
Blacks  in  Florence.  He  is  also  informed  about  the  place  in 
Hell  of  certain  eminent  Florentines  who  have  lately  died.  Vergil 
and  Dante  commence  the  descent  to  the  fourth  circle. 

On  the  return  of  sense,  which  was  shut  up 

Before  the  anguish  of  the  kinsfolk  twain, 

Which  utterly  confounded  me  with  grief, — 

New  torments  and  new  victims  I  behold 

Round  me,  howe'er  I  move,  or  turn,  or  look. 

I  am  in  the  third  circle — of  the  rain. 

Ceaseless,  and  heavy,  and  accurst,  and  cold; 

Ever  the  same  in  rule  and  quality. 

Huge  hail,  and  water  foul,  and  snow,  pour  down 
10  Athwart  the  murky  air,  and  stinks  the  ground 

Which  catches  these.    The  monster  Cerberus, 

Cruel,  prodigious,  with  his  gullets  three. 

Barks  doglike  o'er  the  people  here  submerged. 

He  has  red  eyes,  and  black  and  imctuous  beard, 

And  belly  huge,  and  paws  with  nails  equipped. 

He  claws,  and  mouths,  and  into  pieces  rends 

The  spirits.    The  rain  makes  them  howl  like  dogs. 

One  of  their  sides  they  make  a  screen,  to  shield 

The  other.    Oft  the  wretches  impious 
20  Turn  themselves  to  and  fro.    When  that  great  worm, 

Cerberus,  marked  us,  he  unclosed  his  mouths. 

And  showed  his  tusks;  and  not  a  limb  he  had 

Which  did  not  quiver:  and  my  guide,  his  palms 

42 


INFERNO  VI  43 

Outspreading,  caught  up  earth,  and  with  full  fists 

Into  the  greedy  gullets  threw  it.    Such 

As  is  the  dog  which,  baying,  craves  his  food, 

And  quiet  grows  soon  as  in  it  he  sets 

His  teeth,  because  he  only  tugs  and  fights 

To  swallow  it, — such  did  those  faces  foul 
30  Become  of  Cerberus,  the  fiend  that  stuns 

So  with  his  thundering  bark  the  souls,  that  they 

Would  fain  be  deaf.    We  o'er  the  phantoms,  laid 

Prostrate  beneath  the  heavy  rain,  passed  on. 

And  on  their  emptiness  which  person  seems. 

We  set  our  feet.    Upon  the  ground  they  all 

Were  stretched,  save  one  that  raised  itself  to  sit, 

The  moment  it  perceived  us  pass  in  front. 

''0  thou  who  through  this  Hell  art  being  led," 

It  said  to  me,  "if  thou  art  able,  call 
40  Me  to  remembrance:  thou  wast  made  before 

I  was  unmade."    And  I  to  him:  "Perchance 

The  anguish  thou  art  suffering  withdraws 

Thee  from  my  memory  so,  that  it  appears 

As  if  I  never  saw  thee.    Tell  me  then, 

Who  art  thou,  that  in  such  a  woful  place 

Art  put,  and  in  such  punishment,  that  if 

Another  greater  be,  so  odious 

Is  none?"    And  he  to  me:  "Thy  city  there. 

Which  is  so  full  of  envy  that  the  sack 
50  Already  overflows,  within  itself 

Contained  me,  in  the  life  where  shines  the  light. 

To  me  you  citizens  the  nickname  gave 

Of  Ciacco.    As  thou  seest,  in  the  rain, 

I,  for  the  baneful  vice  of  gluttony. 

Lie  shattered:  and  I,  wretched  soul,  am  not 

The  only  one,  for  in  like  punishment 

For  like  offence,  are  all  of  these:"  and  more 


44  THE  DIVINE  COMEDY 

He  did  not  say.    And  I  replied  to  him: 
"Ciacco,  thy  misery  so  burdens  me, 

60  That  it  calls  forth  my  tears;  but  if  thou  know'st, 
Tell  me  to  what  will  come  the  citizens 
Of  the  divided  city:  if  therein 
Is  any  just:  and  what  the  reason  is, 
Tell  me,  why  so  great  discord  has  assailed  it?" 
And  he  to  me:  "After  long  striving,  they 
Will  come  to  blood;  and  with  much  injury 
The  rustic  party  will  the  other  side 
Drive  out.    Thereafter  must  the  former  fall. 
Within  three  years,  and  gain  the  upper  hand 

70  The  latter,  by  the  force  of  some  one  who 
Just  now  is  hanging,  tacking,  off  the  coast. 
Long  it  will  carry  high  its  front,  and  keep 
The  other  under  burdens  sore,  howe'er 
It  may  lament  thereat  and  be  ashamed. 
There  are  two  who  are  just,  but  they  are  not 
Regarded  there.    Pride,  envy,  avarice. 
Are  the  three  sparks  that  set  all  hearts  on  fire." 
Here  of  his  tearful  words  he  made  an  end. 
And  I  to  him:  "I  pray  thee,  show  me  more; 

80  And  make  a  gift  to  me  of  further  talk. 
Farinata  and  Tegghiaio,  once  so  worthy, 
Jacopo  Rusticucci,  Arrigo,  Mosca, 
And  the  others,  who  to  doing  good  applied 
Their  talents — tell  me  where  they  are,  and  cause 
That  I  may  know  of  them;  for  urges  me 
A  great  desire  to  learn  if  heaven  delights 
These  with  its  sweets,  or  Hell  envenoms  them." 
He  answered:  "They  are  with  the  blacker  souls: 
A  different  transgression  weighs  them  down 

90  Toward  the  bottom:  if  thou  goest  down 

So  far,  thou  canst  behold  them;  but  when  thou 


INFERNO  VI  45 

Shalt  be  in  the  sweet  world,  to  memory 

Of  men,  I  pray  thee,  bring  me;  more  to  thee 

I  say  not,  and  I  answer  thee  no  more." 

With  that  his  eyes,  which  had  been  straight,  he  writhed 

Sideways;  a  moment  gazed  at  me,  and  then 

His  head  he  bowed,  and  with  the  other  blind, 
-        He  to  a  level  fell  with  it.    To  me 
wt      My  Leader  said:  "He  rises  up  no  more, 
100  This  side  the  sound  of  the  angelic  trump, 

What  time  the  Power  that  is  their  enemy 

Shall  come.    Each  one  again  his  dismal  tomb 

Will  find:  will  take  again  his  flesh  and  shape: 

Will  hear  the  sound  which,  to  eternity, 

Reverberates."    Over  the  mixture  foul 

Of  shades  and  rain,  with  paces  slow  we  passed. 

Touching  a  little  on  the  future  life. 

Whence  I:  "These  torments, — will  they  greater  grow. 

My  Master,  or  diminish,  or  remain 
110  Scorching  as  now,  after  the  great  award?" 

And  he:  "Back  to  thy  science  turn,  which  holds 

That,  the  more  perfect  a  thing  is,  the  more 

It  feels  alike  the  pleasure  and  the  pain. 

Although  this  folk  accurst  can  never  come 

To  true  perfection  in  the  life  beyond, 

More  than  in  this  one  they  expect  to  be." 

Around  that  road  we  wound,  saying  much  more 

Than  I  repeat,  and  at  the  point  arrived 

Where  the  descent  is:  Plutus  here  we  found, 
120  Who  of  man's  peace  is  the  great  enemy. 


CANTO  VII 

Plutus  soXvies  the  poets  with  jargon.  Vergil  reassures  Dante 
and  rebukes  Plutus.  They  see  the  punishment  of  the  Avaric- 
ious and  the  Spendthrifts.  Vergil  explains  the  nature  and 
functions  of  Fortune.  They  pass  into  the  fifth  circle  to  the  marsh 
of  Styx  where  are  the  souls  of  the  Wrathful,  and  arrive  at  the 
foot  of  a  tower, 

"Pape  Satan  pape  Satan  aleppe!" 

Plutus  with  clucking  utterance  began. 

And  for  my  comfort  spake  that  gentle  sage, 

Who  all  things  knew:  "Let  thy  fear  harm  thee  not: 

For,  whatsoe'er  his  power,  he  will  not  stop 

Thy  going  down  this  rock."    He  turned  him  round 

Then  to  that  swollen  lip,  and  said:  "Be  still, 

Thou  cursed  wolf!    Consume  thee  inwardly 

With  thine  own  rage.    This  journey  to  the  deep 

10  Is  not  without  a  cause:  'tis  willed  on  high. 
There,  where  on  the  proud  rape  did  Michael  work 
The  vengeance."    Just  as  in  a  heap  the  sails. 
Swelled  by  the  wind,  collapse,  when  snaps  the  mast. 
So  fell  the  cruel  monster  to  the  earth. 
Thus  we  descended  into  the  fourth  pit. 
Making  our  way  along  the  dismal  bank 
Which  all  the  evil  of  the  universe 
Inwraps.    Justice  of  God!    Ah,  who  heaps  up 
So  many  sufferings  and  new  travailings, 

20  As  those  I  saw?  and  wherefore  does  our  guilt 
Such  havoc  of  us  make?    As  does  the  surge 
Upon  Charybdis  there,  which  breaks  itself 
On  that  which  it  encounters, — here  the  folk 
Must  dance  their  round.    I  here  beheld  a  folk, 

46 


INFERNO  VII  47 

Far  more  than  elsewhere,  rolling  weights  with  power 
Of  chest,  and  howlings  loud.    Together  they 
Kept  clashing;  and,  at  point  of  meeting,  each 
Bore  back,  and  rolled  the  weights  the  other  way. 
Crying:  "Why  holdest  thou?    Why  squanderest  thou?" 

30  Along  the  gloomy  round  they  thus  returned 
To  the  point  opposite,  on  either  hand. 
Bawling  their  shameful  measure  evermore. 
Then  every  one,  when  he  had  reached  it,  turned 
Through  his  half  circle,  to  the  other  tilt. 
And  I  who  felt  my  heart  as  it  were  stung. 
Said:  "Master,  show  me  now  what  folk  is  this; 
And  whether  all  these  shavelings  on  our  left 
Were  clerks."    And  he  to  me,  "So  squint  in  mind, 
In  their  first  life,  were  each  and  all  of  them, 

40  That  they  no  spending  with  due  measure  made 
Therein.    Their  voice  right  clearly  barks  it  forth, 
When  at  the  two  points  of  the  circle,  where 
Contrary  guilt  disparts  them,  they  arrive. 
These  who  upon  their  heads  no  covering  have 
Of  hair,  were  clerks,  and  Popes,  and  cardinals. 
In  whom  is  avarice  wont  to  work  its  worst." 
And  I  to  him:  "Master,  'mid  such  as  these, 
I  surely  some  should  recognize,  who  were 
Polluted  with  these  evils."    He  repHed: 

50  "An  idle  thought  thou  cherishest.    Their  hfe 
Which,  undiscerning,  made  them  filthy,  now 
Makes  them  to  every  recognition  dark. 
To  the  two  buttings  they,  forevermore. 
Will  come:  these  from  the  sepulchre  will  rise 
With  fists  fast-clenched,  and  those  with  hair  cut  short. 
Ill-giving  and  ill-keeping  have  from  them 
Taken  away  the  beauteous  world,  and  set 
Them  at  this  scuffle,    What  that  is,  with  words 


48  THE  DIVINE  COMEDY 

I  do  not  garnish.    Now,  my  son,  thou  canst 

60  Behold  the  brief  gust  of  the  goods  which  are 
To  Fortune  trusted,  for  the  which  mankind 
Each  other  tousle :  because  all  the  gold 
That  is  beneath  the  moon,  and  ever  was, 
Rest  to  a  single  one  of  these  tired  souls 
Ck)uld  never  give."    "Master,"  I  said  to  him: 
"Now  tell  me  further  what  this  Fortune  is 
Of  which  to  me  thou  hintest:  she  that  has 
Thus  in  her  claws  the  good  things  of  the  world." 
And  he  to  me:  "0  how  great  ignorance 

70  Is  that  which  injures  you,  ye  foolish  creatures! 
My  judgment  of  her  I  would  have  thee  now 
Receive.    The  one  whose  wisdom  all  transcends, 
The  heavens  made,  and  gave  to  them  their  guides, 
So  that  on  every  part  shines  every  part, 
The  hght  allotting  equally.    Like\^ise, 
He  for  the  splendors  of  the  world  ordained 
A  general  ministress  and  guide,  who  should 
From  time  to  time  the  vain  possessions  change 
From  race  to  race,  and  blood  to  blood,  beyond 

80  The  power  of  human  wisdom  to  prevent. 
Wherefore  one  people  rules,  another  droops, 
Pursuant  to  her  judgment,  who  is  hid. 
Like  serpent  in  the  grass.    Your  wisdom  has 
No  power  to  withstand  her.    She  foresees, 
Judges,  and  carries  on  her  governance, 
As  do  the  other  gods  their  own.    No  truce 
Her  shiftings  have.    Necessity  compels 
Her  to  be  swift,  so  often  some  one  comes 
To  take  his  turn:  she  is  the  one  who  is 

90  So  crucified,  e'en  by  the  same  who  ought 

To  praise  her  when  they  give  her  wrongful  blame 
And  ill  report:  yet  blest  she  is,  and  this 


INFERNO  VII  49 

She  does  not  hear:  gladsome  she  is,  among 
The  other  primal  creatures,  and  she  turns 
Her  sphere,  and  her  beatitude  enjoys. 
Descend  we  now  to  greater  misery. 
Each  star  that  was,  when  I  set  forth,  arising, 
Already  is  declining,  and  forbidden 
Is  too  long  staying."    To  the  other  bank 
100  We  crossed  the  circle,  and  a  fountain  reached, 
Which  boils,  and  pours  itself  along  a  trench 
That  leads  from  it.    Darker  by  far  than  perse 
The  water  was;  and  by  the  sombre  waves 
Accompanied,  along  a  pathway  weird, 

iWe  downward  struck.    This  dismal  rivulet. 
When  to  the  foot  of  the  malign  gray  slopes 
It  has  descended,  forms  a  marsh,  which  bears 
The  name  of  Styx:  and  I  who  was  intent 
To  gaze,  saw  muddy  people  in  that  bog, 
110  All  naked,  and  with  look  of  injured  folk. 
These  were  each  other  smiting,  not  alone 
With  hand,  but  with  the  head,  and  breast,  and  feet, 
Mangling  each  other,  piecemeal,  with  their  teeth. 
"Son,"  the  good  Master  said:  "thou  seest  now 
The  souls  of  those  whom  anger  overcame. 
And  Hkewise  I  would  have  thee  to  believe 
For  certain,  that  beneath  this  water  are 
People  who  sigh,  and  on  the  surface  make 
This  water  bubble,  as  thine  eye  reveals 
120  To  thee,  where'er  it  turns:  fixed  in  the  mire. 
They  say:  'We  were  morose,  in  the  sweet  air 
Which  by  the  sun  is  gladdened,  in  ourselves 
Carrying  a  sluggish  reek:  now  here  we  sulk 
In  the  black  slime.'    This  chant  within  their  throat 
'     They  gurgle,  for  they  cannot  give  it  voice 

With  words  complete."    Thus,  of  the  filthy  slough 


50  THE  DIVINE  COMEDY 

We  compass  a  great  arc,  between  the  marsh 
And  the  dry  bank;  turning  our  eyes  on  each 
Who  nure  is  gulping  down;  and  so  we  came, 
130  At  last,  to  the  foundation  of  a  tower. 


CANTO  VIII 

They  see  two  lights  displayed  at  the  top  of  the  tower,  which  are 
answered  by  another  at  a  distance.  A  small  vessel  is  seen 
approaching,  piloted  by  Phlegyas  the  ferryman  of  the  Styx, 
who  takes  the  poets  on  board  and  begins  to  cross.  Filippo 
Argenti  rises  from  the  mire  and  accosts  Dante,  who  repels  him. 
The  fiery  minarets  of  the  city  of  Dis  are  seen  at  a  distance.  The 
vessel  enters  the  moat  which  surrounds  the  city.  A  throng  of 
enraged  spirits  appears  to  resist  the  entrance  of  the  poets.  Vergil 
leaves  Dante  and  goes  to  confer  with  them.  The  gates  are  shut 
in  his  face,  and  he  returns  discomfited. 

Continuing,  I  say  that,  long  before 

We  to  the  foot  of  the  high  tower  had  come, 

Our  eyes  went  upward  to  its  top,  because 

We  saw  displayed  thereon  two  httle  flames, 

And  from  so  far  that  scarcely  could  the  eye 

Catch  it,  another  give  a  signal  back. 

And  to  the  Sea  of  all  intelligence 

I  turned,  and  said:  "What  is  it  this  one  says? 

And  what  repHes  the  other  fire?  and  who 
10  Are  they  that  made  it?"    And  to  me  he  said: 

"Thou  canst,  already,  o'er  the  filthy  waves, 

Discern  what  is  expected,  if  from  thee 

The  fog  of  the  morass  conceal  it  not." 

Never  did  cord  an  arrow  from  itself 

Propel,  which  through  the  air  so  swiftly  sped 

As  did  a  httle  vessel  which  I  saw, 

That  instant,  standing  for  us  o'er  the  wave. 

Steered  by  a  single  helmsman,  who  exclaimed: 

"Now  here  thou  art,  vile  soul!"    "Phlegyas!"  replied 
20  My  Master,  "Phlegyas,  vainly  thou,  this  time. 

Art  crying  out.    Only  while  we  the  mire 

Are  passing,  shalt  thou  have  us."    As  is  he 

51 


52  THE  DIVINE  COMEDY 

Who  to  some  monstrous  fraud  which  has  been  wTought 
Upon  him,  listens,  and  thereafter  chafes 
At  that,  such  Phlegyas  in  his  gathered  wrath 
Became.    Into  the  boat  my  Guide  went  down, 
And  then  he  made  me  enter  after  him. 
And  laden  seemed  it  not  till  I  was  in. 
Soon  as  my  Guide  and  I  were  in  the  boat, 

30  The  ancient  prow  goes  on  its  way,  and  cuts 
More  of  the  water  than  'tis  wont  to  do 
With  others.    While  we  through  the  dead  canal 
Were  running,  one  before  me  placed  himself. 
All  full  of  mire,  and  said:  "Who  art  thou,  who 
Art  come  before  thy  time?"    And  I  to  him: 
"I  stay  not,  though  I  come;  but  who  art  thou 
That  art  become  so  filthy?"    He  replied: 
"Thou  seest  I  am  one  who  make  lament." 
And  I  to  him:  "Stay  there,  thou  cursed  soul, 

40  With  weeping  and  with  grief:  for  thee  I  know, 
All  filthy  as  thou  art."    Then  both  his  hands 
He  stretched  forth  to  the  boat;  and  thereupon 
The  wary  Master  pushed  him  off,  and  said: 
"Begone  there,  with  the  other  dogs!"    My  neck 
Then  with  his  arms  he  clasped,  and  kissed  my  face, 
And  said:  "Disdainful  spirit,  blest  is  she 
That  bore  thee.    That  one  was,  up  in  the  world, 
A  person  full  of  arrogance;  there  is 
No  goodness  which  his  memory  adorns: 

50  So  is  his  shadow  in  a  fury  here. 

How  many  there  above  now  hold  themselves 
To  be  great  kings,  who  here  shall  be  like  swine 
In  mire,  and  for  themselves  shall  dire  contempt 
Behind  them  leave."    And  I:  "Before  we  pass 
Out  from  the  lake,  I  would  right  happy  be. 
Master,  to  see  him  in  this  pottage  soused." 


INFERNO  VIII  53 

And  he  to  me:  "Thou  shalt  be  satisfied, 

Before  the  shore  disclose  itself  to  thee: 

It  will  be  meet  that  thou  be  gratified 
60  In  such  a  wish."    A  little  after  this, 

I  saw  the  muddy  people  make  of  him 

Such  havoc,  that  for  this  I  still  give  praise 

And  thanks  to  God.    They  all  set  up  a  shout: 

"Have  at  Philippo  Argenti!"  and,  enraged. 

The  spirit  Florentine  upon  himself 

Turned  with  his  teeth.    We  left  him  there,  and  hence. 

No  more  I  tell  of  him:  but  on  my  ears 

A  lamentation  smote,  so  that  my  eye 

I  open  wide  with  forward  gaze  intent. 
70  Said  the  good  Master:  "Nearing  now,  my  son. 

The  city  is  which  bears  the  name  of  Dis, 

With  townsmen  pestilent,  with  rabble  great." 

And  I:  "Already,  Master,  I  descry 

Its  minarets,  distinctly,  there  within 

The  valley,  red,  as  if  from  fire  they  sprang." 

And  he  replied  to  me:  "The  eternal  fire 

Which  these  inflames  within,  this  ruddy  hue 

Imparts,  as  in  this  nether  Hell  thou  seest." 

We  came  at  last  within  the  fosses  deep 
80  Which  that  sad  city  trench.    The  walls,  to  me. 

Like  iron  seemed.    Not  without  making  first 

A  circuit  great,  we  at  a  place  arrived, 

Where  loudly  cried  to  us  the  boatman:  "Out! 

Here  is  the  entrance!"    O'er  the  gates  I  saw 

More  than  a  thousand,  from  the  heavens  fallen. 

Who  angrily  were  crying:  "Who  is  this. 

Who,  without  death,  is  passing  through  the  realm 

Of  the  dead  folk?"    And  my  sage  Master  made 

A  sign,  that  he  in  private  wished  to  speak 
90  With  them.    Then  they  repressed  their  great  disdain 


54  THE  DIVINE  COMEDY 

Somewhat,  and  said:  "Thou  by  thyself  approach 

And  let  that  one  begone  who  has  this  realm 

So  daringly  invaded.    By  the  path 

His  folly  chose,  let  him  return  alone. 

Try  if  he  knows;  for  thou  shalt  here  remain 

Who  through  so  dark  a  region  hast  convoyed  him." 

Bethink  thee,  reader,  if  I  was  dismayed 

On  hearing  the  accursed  words;  for  I 

Thought  that  I  never  hither  should  return. 

100  "0  my  dear  Guide,  who,  more  than  seven  times, 
My  courage  hast  restored,  and  rescued  me 
From  the  deep  peril  which  confronted  me, — 
Leave  me  not  thus  undone,"  I  said,  "and  if 
The  going  farther  be  to  us  refused. 
Let  us,  together,  hastily  retrace 
Our  footsteps."    And  that  lord  who  thither  had 
Conducted  me,  replied:  "Be  not  afraid. 
For  none  can  take  away  from  us  our  passage, 
By  such  an  one  it  is  vouchsafed  to  us. 

110  But  thou  await  me  here;  and  with  good  hope 
Thy  weary  spirit  brace  and  feed;  for  I 
Will  not  desert  thee  in  this  lower  world." 
Thus  on  his  way  the  gentle  Father  goes. 
And  leaves  me  here,  and  I  remain  in  doubt; 
For  yes  and  no  within  my  head  contend. 
That  which  was  proffered  them  I  could  not  hear; 
But  long  he  was  not  with  them  there,  when  each 
With  other  vied  in  running  back  within. 
Those  enemies  of  ours  shut  fast  the  gates 

120  In  my  lord's  face,  who  stayed  without,  and  turne 
Again  to  me  with  paces  slow.    He  had 
His  eyes  upon  the  ground,  and  shorn  his  brows 
Of  boldness  all;  and  he  with  sighs  was  saying: 
"Who  has  refused  me  the  abodes  of  woe?" 


INFERNO  VIII  55 

And  he  to  me:  "Be  not  dismayed,  although 
To  anger  I  am  moved,  for  I  will  win 
The  contest,  whatsoe'er,  to  keep  us  out. 
Is  stirring  round  within.    Not  novel  is 
This  insolence  of  theirs.    They  practised  it 
130  Once,  at  a  gate  less  secret,  which  is  found 

Still  without  bolt.    O'er  this  the  words  of  death 
Thou  sawest  written;  and,  this  side  of  it, 
Ah*eady,  without  escort,  passing  through 
The  circles,  such  an  one  descends  the  steep, 
That  by  his  aid  the  city  will  be  opened." 


CANTO  IX 

Vergil,  at  Dante's  request,  relates  his  former  visit  to  Hell.  The 
three  Furies  appear  on  a  tower  of  the  city.  An  angel  comes 
over  the  Styx  who  rebukes  tJie  rebel  spirits,  and  opens  the  gate. 
The  two  poets  enter  the  city.  They  see  the  tombs  in  which  the 
heretics  are  punished. 

That  hue  which,  when  I  saw  my  Guide  turn  back, 

Cowardice  painted  outwardly  on  me. 

More  quickly  his  new  color  did  repress. 

He  stopped,  attentive,  hke  a  man  that  harks; 

For  through  the  black  air  and  the  mist  compact 

Not  far  his  eye  could  lead  him.    "Yet  we  must," 

Began  he,  "win  the  fight,  unless— such  help 

To  us  was  proffered.    0  how  long  to  me 

It  is,  till  here  another  one  arrive!" 
10  How,  with  the  rest  that  followed,  he  concealed 

That  which  he  uttered  first,  I  plainly  saw: 

For  these  were  words  that  differed  from  the  first. 

But  none  the  less  his  speaking  caused  me  fear. 

For  I,  perhaps,  drew  out  his  speech  curtailed 

Into  a  meaning  worse  than  what  he  held. 

"Into  this  bottom  of  the  dismal  pit, 

From  the  first  grade  does  ever  one  descend, 

Whose  only  punishment  is  hope  cut  off?" 

I  asked  this  question,  and  he  answered  me: 
20  "It  seldom  comes  to  pass  that  any  one 

Of  us  the  journey  makes  on  which  I  go. 

Another  time,  'tis  true,  I  was  down  here, 

Conjured  by  fell  Erichtho,  who  called  back 

Shades  to  their  bodies.    But  a  little  time 

My  flesh  had  been  bereft  of  me,  when  she 

56 


INFERNO   IX  57 

Made  me  to  pass  within  that  wall,  to  bring 
A  spirit  of  the  round  of  Judas  thence. 
That  is  the  very  lowest  place  of  all, 
And  darkest,  and  the  farthest  from  the  Heaven 

30  Which  all  revolves.    Full  well  I  know  the  road: 
Therefore  assure  thyself.    This  fen  that  breathes 
The  mighty  stench,  engirds  the  city  sad, 
Where  now  we  cannot  enter  without  wrath." 
And  something  else  he  said,  but  not  in  mind 
I  have  it,  for  my  eye  had  drawn  me  all 
Toward  the  lofty  tower  with  ruddy  top. 
Where,  in  an  instant,  sudden  were  uprisen 
Three  hellish  Furies,  stained  with  blood,  who  had 
The  limbs  and  mien  of  women,  and  were  girt 

40  With  greenest  hydras:  little  snakes  for  hair, 

And  serpents  horned  they  had,  with  which  were  bound 

Their  savage  temples.    And  that  one,  who  well 

Did  recognize  the  handmaids  of  the  Queen 

Of  the  eternal  wailing,  said  to  me: 

"See  the  Erinnyes  fierce!    Megaera  is 

On  the  left  side:  that  is  Alecto,  who 

Is  weeping  on  the  right:  Tisiphone 

Is  'twixt  the  two:"  with  that  he  held  his  peace. 

Each  one  her  breast  was  tearing  with  her  nails; 

60  They  beat  them  with  their  palms,  and  cried  so  loud, 
That  I,  for  fear,  close  to  the  poet  pressed. 
"Now  let  Medusa  come;  so  we  to  stone 
Will  change  him,"  said  they  all,  as  they  looked  down: 
"  'Twas  ill  that  we  did  not,  for  his  assault. 
Take  vengeance  upon  Theseus."    "Backward  turn, 
And  keep  thine  eyes  shut;  for  if  shows  herself 
The  Gorgon,  and  thou  shouldst  upon  her  look. 
Returning  upward  would  be  nevermore." 
Thus  said  the  Master,  and  he  turned  me  round, 


58  THE  DIVINE  COMEDY 

60  Himself,  and  did  not  trust  my  hands  so  far 
As  not  to  blind  me  with  his  own.    0  ye 
Who  are  of  understanding  sound,  observe 
The  teaching  hidden  underneath  the  veil 
Of  the  strange  verses.    And  already  came 
Across  the  turbid  waves  a  crash  of  sound, 
With  terror  fraught,  whence  both  the  shores  did  shake; 
A  sound  as  of  a  wind,  impetuous 
From  counter  heats,  which,  imimpeded,  smites 
The  forest,  rends  the  boughs,  and  beats  them  down, 

70  And  bears  them  off,  and  marches  proudly  on, 
Marshalled  by  clouds  of  dust,  and  puts  to  flight 
The  wild  beasts  and  the  shepherds.    He  released 
My  eyes,  and  said:  "Now  turn  the  nerve  of  sight 
Across  that  ancient  scum,  to  where  the  smoke 
Is  most  distressing."    As  before  their  foe 
The  serpent,  through  the  water,  one  and  all, 
Vanish  the  frogs,  till  huddled  is  each  one 
Upon  the  bottom,— so  did  I  behold 
More  than  a  thousand  ruined  souls  in  flight 

80  Before  one  who  across  the  Styx,  dry-shod. 
Was  at  the  ferry  passing.    From  his  face 
He  was  dispersing  that  thick  air,  ofttimes 
Before  him  waving  his  left  hand;  and  seemed 
With  that  annoyance  only  to  be  tired. 
I  clearly  saw  that  he  was  sent  from  Heaven, 
And  to  my  Master  turned,  who  made  a  sign 
That  I  should  quiet  stand,  and  bow  me  down 
To  him.    Ah!  how  disdainful  he  appeared 
To  me!    Up  to  the  gate  he  made  his  way, 

90  And  with  a  httle  rod  he  opened  it, 

For  hindrance  there  was  none.    "Outcast  from  Heaven 
People  despised,"  on  the  dread  threshold  he 
Began:  "Whence  does  this  arrogance  in  you 


INFERNO  IX  59 

Find  entrance?    Why  do  ye  resist  that  will 

Whereof  can  never  frustrate  be  the  end, 

And  which  has  many  a  time  increased  your  woe? 

What  profits  it  to  butt  against  the  fates? 

Your  Cerberus,  if  ye  remember  well. 

Still  for  this  carries  peeled  his  chin  and  throat." 
100  Then  he  returned  along  the  filthy  road. 

And  spoke  no  word  to  us,  but  wore  the  look 

Of  one  whom  other  care  constrains  and  stings 

Than  that  of  him  who  is  before  his  face. 

And  we  toward  the  city  bent  our  steps. 

Relieved  of  fear  after  the  holy  words. 

All  unopposed  we  entered  there  within : 

And  I  who  wished  to  see  what  state  of  things 

A  stronghold  such  as  this  keeps  under  lock, 

Soon  as  I  was  within  cast  round  my  eye, 
110  And  see  on  every  side  a  spacious  plain. 

All  full  of  suffering  and  of  cruel  torment. 

Just  as  at  Aries,  where  Rhone  becomes  a  marsh, 

Just  as  at  Pola,  near  Quarnaro's  gulf. 

Which  shuts  in  Italy  and  bathes  its  bounds, —  jP  \|(^  r^^^^MJi 

So  here  they  did  on  all  sides,  save  that  here 

The  fashion  was  more  bitter;  for  dispersed 

Among  the  tombs  were  flames,  whereby  they  were 

Fired  so  completely  that  no  craft  requires 

More  glowing  iron.    Their  lids  were  all  upraised, 
120  And  forth  from  them  such  lamentations  dire 

Proceeded,  that  they  seemed  indeed  to  come 

From  wretched  people  and  from  those  in  pain. 

And  I:  "What  folk  are  these,  my  Master,  who. 

Entombed  within  these  coffers,  make  themselves 

Heard  by  their  doleful  sighs?"    And  he  to  me: 

"Here  the  Heresiarchs  with  their  followers 

Of  all  sects  are;  and  laden  are  the  tombs 


60  THE  DIVINE  COMEDY 

More  than  thou  thinkest.    Like  with  like  is  here 
Buried,  and  more  and  less  the  monuments 
130  Are  hot."    Then,  having  turned  to  right,  we  passed 
Between  the  torments  and  the  bastions  high. 


r 


CANTO  X 

Dante  and  Vergil  proceed  along  a  path  between  the  tombs  and  the 
wall  of  the  city.  Dante  desires  to  look  into  some  of  the  tombs. 
The  shade  of  Farinata  appears,  and  while  he  is  conversing 
with  Dante,  the  shade  of  Cavalcante  de'  Cavalcanti  rises  in 
the  same  tomb.  The  latter,  inferring  from  Dante's  words  that  his 
son  Guido  is  dead,  falls  back  and  disappears.  Farinata  predicts 
misfortune  to  Dante,  and  explains  the  nature  and  extent  of  the 
knowledge  possessed  by  the  damned. 

Now  by  a  secret  path  my  Master  goes 

Between  the  torments  and  the  city-wall, 

And  I  behind  his  back.    I  thus  began: 

"Virtue  supreme,  that  turnest  me  along 

The  sinful  circles,  as  it  pleases  thee. 

Speak  to  me,  and  my  wishes  satisfy. 

The  people  lying  in  the  sepulchres- 
Might  they  be  seen?    Already  all  the  lids 

Are  lifted,  and  no  one  is  keeping  guard." 
10  And  he  to  me:  "They  all  will  be  locked  in, 

When  from  Jehoshaphat  they  shall  return 

Here,  with  the  bodies  they  have  left  above. 

In  this  part  Epicurus  is  entombed. 

And  with  him  all  his  followers,  who  make 

The  spirit  with  the  body  dead.    Thou  shalt 

Within  this  place  be  quickly  satisfied 

Touching  the  question  which  thou  askest  me, 

And  also  touching  the  desire,  of  which 

Thou  silent  art  to  me."    And  I:  "Good  Guide, 
20  My  heart  I  do  not  keep  concealed  from  thee. 

Save  to  speak  briefly;  and  not  only  now 

Hast  thou  to  this  disposed  me."    "Tuscan,  thou 

Who  through  the  fiery  city  goest  on, 

61 


62  THE  DIVINE  COMEDY 

Alive,  and  thus  discoursing  modestly, 
Mayst  thou  be  pleased  to  tarry  in  this  place. 
Thy  mode  of  speech  shows  plainly  that  thou  art 
A  native  of  that  noble  fatherland, 
To  which,  perhaps,  I  was  too  troublesome." 
All  of  a  sudden  issued  from  within 

30  One  of  the  chests,  this  sound;  whereat,  in  fear, 
I  drew  a  little  closer  to  my  Guide. 
And  he  to  me  said:  "Turn!    What  doest  thou? 
See  Farinata  there  who  is  uprisen. 
From  the  waist  upward  thou  wilt  see  him  all." 
Already  I  had  fixed  my  face  on  his. 
And  he  himself  upraised  with  breast  and  front. 
As  though  he  had  a  great  contempt  for  Hell. 
My  Leader's  bold  and  ready  hands  did  push 
Me  'mongst  the  sepulchres  to  him.    He  said: 

40  "Well  ordered  be  thy  words!"    As  soon  as  I 
Had  come  to  his  tomb's  foot,  he  looked  at  me 
A  little,  and,  as  if  disdainful,  asked 
Of  me,  "Who  were  thine  ancestors?"    And  I, 
Who  was  desirous  to  obey,  from  him 
Concealed  it  not,  but  all  of  it  disclosed 
To  him:  whereat  he  Ufted  up  his  brows 
A  little,  saying:  "Bitterly,  to  me. 
And  to  my  party  and  my  forefathers. 
They  were  opposed,  so  that  two  several  times 

50  I  scattered  them."    "If  they  were  driven  out," 
I  answered  him,  "  from  every  quarter  they 
Returned  both  times;  but  rightly  have  not  learned 
Your  partisans  that  art."    Then  at  the  mouth. 
Uncovered  far  as  to  the  chin,  arose 
Beside  this  one  a  shade.    It  had,  I  think, 
Raised  itself  on  its  knees.    Round  me  it  looked. 
As  though  it  wished  to  see  if  some  one  else 


INFERNO  X  63 

Were  in  my  company;  but  when  all  vain 
Was  its  conjecture,  "If,"  it  weeping  said, 

60  "Through  this  blind  prison,  by  the  loftiness 
Of  genius,  thou  dost  go,  where  is  my  son? 
And  wherefore  is  he  not  with  thee?  "    And  I 
To  him:  "I  come  not  of  myself.    That  one 
Who  yonder  waits  conducts  me  through  this  place, 
Whom,  haply,  in  contempt  your  Guido  held." 
His  words  and  mode  of  punishment  had  read 
To  me  his  name  already:  hence  so  full 
My  answer  was.    He  on  a  sudden  raised 
Himself  upright,  and  cried:  "How  didst  thou  say, 

70 'He  held'?    Is  not  he  living  still?    Does  not 

The  sweet  Hght  strike  his  eyes?"    When  he  was  ware 

Of  some  delay,  which,  ere  I  answered  him, 

I  made,  he  backward  fell,  and  he  appeared 

No  more  outside.    But  still  that  other  one, 

High-souled,  at  whose  behest  I  had  remained, 

Did  not  his  aspect  change,  or  move  his  neck. 

Or  bend  his  side;  but  said,  continuing 

His  former  words:  "And  if  they  have  that  art 

Learned  badly,  greater  torment  than  this  couch 

80  That  gives  me.    But  not  fifty  times  shall  be 
The  face  rekindled  of  the  dame  who  here 
Bears  rule,  ere  thou  shalt  know  how  heavy  is 
That  art.    And,  so  to  the  sweet  world,  some  time, 
Mayst  thou  return,  as  thou  shalt  tell  me  why 
That  people  is  so  pitiless  to  mine. 
In  every  law?"    I  thereupon  to  him: 
"The  rout  and  the  great  carnage  which  dyed  red 
The  Arbia,  causes  such  law  to  be  made 
Within  our  temple."    After  he  his  head 

90  Had  shaken,  sighing,  "Not  alone,"  he  said, 
"I  was  in  that,  nor  surely  without  cause 


64  THE  DIVINE  COMEDY 

Would  I  have  with  the  others  moved;  but  there, 
Where  leave  was  given  to  demolish  Florence, 
By  every  one,  I  only  was  the  one 
Who  with  an  open  face  defended  her." 
"Ah,  so,  some  time,"  I  prayed  him,  "may  your  seed 
Have  rest:  untie  for  me  that  knot  which  here 
My  judgment  has  entangled.    If  I  hear 
Aright,  it  seems  that  you  foresee  what  time 

100  Is  bringing  with  it;  while  another  way 

You  hold  as  to  the  present."    "We,"  he  said, 

"See,  just  as  one  who  has  imperfect  Hght, 

The  things  remote  from  us;  so  much  on  us 

Still  shines  the  Guide  supreme.    When  they  draw  near, 

Or  are,  all  vain  is  our  inteUigence: 

And  if  another  bring  it  not  to  us. 

We  have  no  knowledge  of  your  human  state. 

Hence  thou  canst  understand  that  wholly  dead 

Will  be  our  knowledge,  from  the  moment  when 

110  The  portal  of  the  future  shall  be  closed." 
Then,  as  if  contrite  for  my  fault,  I  said: 
"Now  you  will  therefore  tell  that  fallen  one 
That  still  his  son  is  with  the  Hving  joined. 
And  if  I  was  just  now  without  the  words 
To  answer,  let  him  know  that  so  I  was. 
Because  my  thought  already  was  employed 
Upon  the  error  you  have  loosed  for  me." 
Whence  I  more  hastily  besought  the  shade 
To  tell  me  who  was  with  him.    "Here  I  lie," 

120  He  said  to  me,  "with  more  than  fifty  score. 
Within  here  is  the  second  Frederick; 
Also  the  Cardinal;  and  of  the  rest 
I  do  not  speak."    Therewith  he  hid  himself. 
And  I  toward  the  ancient  Poet  turned 
My  steps,  reflecting  on  those  words  which  seemed 


I 


I 


INFERNO  X  65 

Hostile  to  me.    He  onward  moved,  and  then, 
Thus  going,  said  to  me:  "Why  art  thou  thus 
Disturbed?"    And  to  his  question  I  returned 
An  answer  that  sufficed  him.    "Let  thy  mind 
130  Retain  what  thou  hast  heard  against  thyself," 
That  sage  commanded  me,  "and  now  heed  this": 
And  he  his  finger  raised.    "When  thou  shalt  be 
Before  her  gentle  radiance  whose  fair  eye 
Sees  every  thing,  then  shalt  thou  learn  from  her 
The  course  thy  fife  will  take."    Then  to  the  left 
His  foot  he  turned:  we  left  the  wall,  and  went 
Toward  the  middle,  by  a  path  which  strikes 
Into  a  valley  which  annoying  made 
Its  stench  as  far  as  to  the  point  above. 


CANTO  XI 

The  poets  reach  the  edge  of  the  hank  which  overhangs  the  severUh 
circle,  and  take  refuge  behind  the  tomb  of  Pope  Anastasius,  in 
order  to  accustom  their  senses  to  the  stench  which  ascends  from 
below.  Vergil  explains  to  Dante  the  classification  of  the  sins 
punished  in  the  lower  Hell. 

Upon  the  margin  of  a  lofty  bank, 

Formed,  in  a  circle,  by  great,  broken  rocks, 

Above  a  yet  more  cruel  keep  we  came; 

And  here,  by  reason  of  the  dire  excess 

Of  the  foul  odor  which  the  deep  abyss 

Throws  up,  we  drew  ourselves  behind  the  lid 

Of  a  great  tomb,  whereon  I  saw  a  script, 

Which  said:  "I  hold  Pope  Anastasius, 

He  whom  Photinus  lured  from  the  right  way." 
10  "Slow  it  behoves  that  our  descending  be,  . 

So  that  our  sense  may  grow  a  little  used. 

First,  to  the  putrid  blast;  and  afterward 

It  will  not  matter."    Thus  the  Master  said. 

And  I  to  him:  "Find  thou  some  recompense, 

In  order  that  the  time  run  not  to  waste." 

And  he:  "Thou  seest  that  I  think  of  that. 

My  son,"  he  then  began,  "within  these  rocks 

Three  little  circles  in  gradation  are. 

Like  those  which  thou  art  leaving.    All  are  full 
20  Of  souls  accurst;  but  that  hereafter  may 

The  sight  alone  suffice  for  thee,  hear  how 

And  why  they  are  shut  up.    Of  every  kind 

Of  wickedness  which  hatred  wins  in  Heaven, 

The  end  is  injury;  and  every  end 

Like  this,  by  violence  or  else  by  fraud 

66 


INFERNO  XI  67 

Others  afflicts;  but  since  fraud  is  to  man 

An  ill  peculiar,  more  to  God  it  is 

Displeasing;  and  the  fraudulent  have  place 

Therefore,  below,  and  woe  assails  them  more. 
30  All  the  first  circle  to  the  violent 

Belongs;  but  inasmuch  as  violence 

Is  wrought  upon  three  persons,  in  three  rounds 

It  is  divided  and  arranged.    To  God, 

To  self,  and  to  a  neighbor,  may  be  done 

Violence;  to  them,  I  say,  and  what  is  theirs, 

As  thou  with  plain  discourse  shalt  hear.    By  force, 

Upon  one's  neighbor  are  inflicted  death. 

And  painful  wounds;  and  on  his  property, 

Destruction,  fires,  extortion  ruinous: 
40  Whence  homicides,  and  every  one  that  smites 

MaHciously,  destroyers,  plunderers,— 

The  first  round  all  torments  in  different  groups. 

Man  may  lay  violent  hands  upon  himself. 

And  on  his  goods;  and  in  the  second  round, 

He,  therefore,  must  without  avail  repent. 

Whoever  of  your  world  deprives  himself. 

Gambles  away  his  means,  and  squanders  them, 

And  there  laments  where  cheerful  he  should  be 

Violence  may  to  the  Deity  be  done, 
50  By  cursing  and  denying  him  in  heart. 

And  scorning  Nature,  and  his  bounty:  hence 

The  smallest  round  doth  with  its  signet  seal 

Both  Sodom  and  Cahors;  and  whoso  speaks 

With  his  own  heart,  casting  contempt  on  God. 

The  fraud  by  which  is  every  conscience  stung, 

A  man  may  practise  upon  him  who  trusts 

In  him,  and  upon  him  who  entertains 

No  confidence.    This  latter  fashion  seems 

To  do  away  only  the  bond  of  love 


68  THE  DIVINE  COMEDY 

60  Which  Nature  forms;  and  therefore  make  their  nest 
Within  the  second  round,  hypocrisy, 
And  flatterers,  and  he  who  practises 
Magic;  and  robbery  and  simony; 
Panders  and  barrators,  and  such  Uke  filth. 
There  is  forgotten  by  the  other  mode 
The  love  which  Nature  makes,  as  well  as  that 
Which  afterward  is  added,  by  the  which 
The  special  trust  is  bred;  and  hence  within 
The  smallest  round,  where  of  the  universe 

70  The  point  is  upon  which  is  seated  Dis, 
Whoe'er  betrays  forever  is  consumed." 
And  I:  "Right  clearly.  Master,  thy  discourse 
Proceeds,  and  well  enough  partitions  out 
This  deep  gulf,  and  the  folk  that  dwells  therein. 
But  tell  me — those  within  the  fat  morass. 
Whom  the  wind  sways  and  the  rain  pelts,  and  those 
Who  with  such  biting  tongues  encounter,— why 
Are  not  they  punished  in  the  fire-red  town, 
If  God  in  anger  holds  them?    And  if  so 

80  He  holds  them  not,  why  are  they  in  such  pHght?" 
And  he  to  me:  "Why  strays  thy  wit  so  far 
Beyond  its  wont?    Or  is  it  that  thy  mind 
Some  otherwhere  is  looking?    Dost  thou  not 
Recall  those  words,  in  which  thy  "  Ethics  "  treats 
The  dispositions  three  against  the  which 
The  will  of  Heaven  is  set— incontinence, 
And  mahce,  and  mad  bestiahty? 
And  how  incontinence  gives  less  offence 
To  God,  and  gets  less  blame?    If  thou  shalt  well 

90  Ponder  this  doctrine,  and  recall  to  mind 
Who  are  the  ones  that  suffer  punishment 
Above,  outside,  thou  clearly  wilt  perceive 
Why  from  these  wretches  they  are  set  apart, 


INFERNO  XI 

And  wherefore  divine  vengeance  hammers  them 
Less  wrathfuUy."    "  0  sun,  that  art  the  cure   ; 
Of  all  beclouded  vision,  so  content 
Thou  makest  me  when  thou  unravellest, 
That  doubt  no  less  than  knowledge  pleases  me. 
Yet  turn  a  little  back,"  I  said,  "to  where 

100  Thou  say'st  that  usury  offends  against 

God's  goodness,  and  unloose  the  knot."    He  said: 
"Philosophy,  for  him  who  knows  her,  notes, 
Not  in  one  place  alone,  how  Nature  takes 
From  the  divine  intelligence  her  course. 
And  from  its  art:  and  if  thy  *  Physics '  well 
Thou  note,  thou  wilt,  after  not  many  leaves 
Discover  that  your  art,  far  as  it  can. 
As  pupil  follows  master,  follows  her; 
So  that  your  art  is  grandchild,  as  it  were, 

110  To  God.    From  these  two,  if  thou  call  to  mind 
In  its  beginning.  Genesis,  behoves 
The  human  race  to  gain  its  livelihood 
And  thrive;  and  since  the  usurer  pursues 
Another  way,  both  Nature,  in  herself 
And  in  her  follower,  he  scorns,  because 
He  sets  his  hope  upon  another  thing. 
But  follow  me  forthwith;  for  I  would  fain 
Be  going  on,  because  the  Fishes  are 
On  the  horizon  quivering,  and  the  Wain, 

120  All  of  it,  over  Caurus  lies,  and  far 

Beyond  there,  lies  our  passage  down  the  steep." 


CANTO  XII 

The  descent  into  the  seventh  circle.  The  Minotaur.  Vergil  re- 
lates how  and  when  the  rocky  slope  was  formed.  The  river  of 
blood  guarded  by  Centaurs.  Nessu^  challenges  the  poets. 
Vergil  confers  with  Chiron,  who  appoints  Nessus  as  an  escort. 
Nessus  points  out  certain  tyrants  in  the  river  of  blood,  and 
shows  how  the  stream  varies  in  depth.  At  the  shallowest  point 
Dante  crosses  on  the  back  of  Nessus,  who  immediately  returns. 

The  place  where  to  descend  the  bank  we  came, 
Was  alpine;  and  because  of  what  was  there 
Besides,  was  such  as  every  eye  would  shun. 
Such  as  that  landslip  which,  this  side  of  Trent, 
Struck  on  its  flank  the  Adige,  set  loose 
By  earthquake  or  defective  prop,— for  so 
The  rock  is  shattered  from  the  mountain's  top 
From  which  it  started,  to  the  plain  below. 
That  it  some  track  might  furnish  one  who  chanced 

10  To  be  above,— just  such  was  the  descent 
Of  that  ravine;  and  on  the  very  edge 
Of  the  jagged  hollow  lay  the  Infamy 
Of  Crete,  stretched  out,  which  was  conceived  within 
The  counterfeited  cow:  and  seeing  us. 
He  bit  himself  as  one  whom  wrath  consumes 
Within.    Toward  him  cried  my  Sage:  "Perhaps 
Thou  think'st  that  here  the  Duke  of  Athens  is, 
Who  in  the  world  above  gave  thee  thy  death. 
Begone,  thou  beast!  for  this  one  does  not  come 

20  Schooled  by  thy  sister,  but  is  on  his  way 
To  view  your  punishments."    As  is  that  bull 
Which,  at  the  moment  when  already  he 
Has  gotten  his  death-stroke,  his  tether  breaks, 
And  cannot  walk,  but  plunges  here  and  there,— 

70 


INFERNO  XII  71 

In  such  wise  I  beheld  the  Minotaur 

Acting;  and,  all  alert,  my  Leader  cried: 

"Run  to  the  pass!    While  he  is  in  his  fit 

Of  rage,  'tis  well  that  thou  descend."    Our  way 

Thus  we  took  downward,  over  that  discharge 
30  Of  stones,  which  often  moved  beneath  my  feet, 

By  reason  of  the  novel  weight.    I  went 

Musing  along;  and,  "Thou  perchance,"  he  said, 

"Art  thinking  on  this  ruin,  over  which 

Mounts  guard  that  bestial  fury  which,  just  now, 

I  quelled.    Now  will  I  have  thee  know  that  when 

Down  here  into  the  nether  Hell  I  came. 

The  other  time,  not  yet  had  fallen  down 

This  cliff;  but  surely,  if  I  rightly  judge, 

A  Uttle  while  before  He  came,  who  took 
40  From  Dis  the  mighty  spoil  that  was  within 

The  highest  circle,  upon  every  side. 

The  deep,  foul  vale  so  trembled  that  I  thought 

The  universe  felt  love,  whereby,  there  are 

Who  think,  the  world  has  often  been  resolved 

To  chaos;  and,  that  moment,  this  old  rock. 

Both  here  and  elsewhere,  such  a  downfall  made. 

But  downward  fix  thine  eyes;  because  draws  nigh 

The  river  of  blood,  wherein  boils  every  one 

Who  injury  by  violence  inflicts 
50  On  others."    0  cupidity,  that  blind 

And  wicked  art,  and  mad,  that  spurs  us  so 

In  the  brief  life,  and  after,  in  the  life 

Eternal,  steeps  us  in  such  evil  wise! 

I  saw  a  broad  trench,  bent  into  an  arc. 

As  that  which  all  the  plain  encompasses. 

According  to  that  which  my  Guide  had  said. 

And  'twixt  the  bottom  of  the  bank  and  this. 

Centaurs,  with  arrows  armed,  in  file  were  running, 


72  THE  DIVINE  COMEDY 

As  in  the  world  a-himting  they  were  wont 

60  To  go.    Perceiving  us  descend,  each  one 

Halted,  and  from  the  troop  detached  themselves 
Three,  with  their  bows,  and  shafts  already  picked. 
And  from  afar  one  cried:  "Ye  who  descend 
The  hillside,  to  what  torment  do  ye  come? 
Tell  it  from  where  you  are,  or  else  I  draw 
The  bow."    My  Master  said:  "To  Chiron  there, 
Near  by,  we  will  our  answer  make:  thy  will 
Was  ever,  to  thy  harm,  so  hasty."    Then 
He  touched  me,  saying:  "That  is  Nessus,  who 

70  Died  for  fair  Deianira,  and  himself 

Wreaked  vengeance  for  himself;  and,  midmost,  he 
Who  gazes  at  his  breast,  is  the  great  Chiron, 
The  one  who  reared  Achilles :  Pholus  is 
That  other  one,  who  was  so  full  of  wrath. 
They  go  by  thousands  round  about  the  trench, 
Smiting  with  arrows  whatsoever  soul 
Emerges  from  the  blood  more  than  its  sin 
Allots  it."    We  approached  those  monsters  swift, 
And  Chiron  took  a  shaft,  and  with  the  notch 

80  Put  back  his  beard  upon  his  jaws.    When  he 
Had  his  great  mouth  uncovered,  to  his  mates 
He  said:  "Are  ye  aware  that  that  one  there 
Behind,  moves  what  he  touches?    Dead  men's  feet 
Are  not  so  wont  to  do."    And  my  good  Guide, 
Who  was  ah*eady  at  his  breast,  where  joined 
Are  the  two  natures,  answered:  "He  indeed 
Is  living,  and  I  thus  alone  must  show 
To  him  the  valley  dark.    Necessity, 
Not  pleasure  brings  him  hither.    One  who  laid 

90  This  novel  charge  on  me,  withdrew  herself 
From  singing  Alleluia.    He  is  not 
A  robber,  nor  am  I  a  robber's  soul. 


INFERNO  XII  73 

But,  by  that  power  through  which  I  move  my  steps 

Along  a  road  so  savage,  give  to  us 

One  of  thy  troop,  to  whom  we  may  keep  near, 

To  show  us  where  the  ^rd  is,  and  to  bear 

This  one  upon  his  back;  for  he  is  not 

A  spirit,  that  can  travel  through  the  air." 

On  his  right  breast  turned  Chiron,  and  he  said 
100  To  Nessus:  "Turn,  and  guide  them  as  he  asks: 

And  if  another  troop  encounter  you, 

Make  it  turn  out."    We,  with  our  trusty  guide, 

Along  the  brink  of  the  red  boihng  moved, 

Wherein  the  boiled  were  uttering  loud  shrieks. 

Beneath  I  saw  folk  to  the  brows  immersed: 

And  the  great  Centaur  said:  "Tyrants  are  these 

Who  laid  their  hands  on  blood  and  property. 

They  here  bewail  their  ruthless  injuries. 

Here  Alexander  is,  and  Dionysius 
110  Inhuman,  who  made  Sicily  endure 

Sorrowful  years:  and  yonder  brow,  with  hair 

So  black,  is  Azzolino;  and  the  other, 

Who  is  fair-haired,  Obizzo  of  Esti, 

Who,  verily,  up  yonder  in  the  world. 

Was  by  his  stepson  slain."    Then  to  the  Bard 

I  turned  me,  and  he  said:  "Let  this  one  now 

Be  first  with  thee,  and  second  let  me  be." 

A  little  farther  on  the  Centaur  stopped 

Above  a  folk  who,  far  as  to  the  throat, 
120  Appeared  to  issue  from  that  boiling  stream. 

A  shade  he  showed  us,  on  one  side,  alone. 

And  said:  "He  in  God's  bosom  cleft  the  heart 

Which  on  the  Thames  is  venerated  still." 

Then  I  saw  people  who  from  out  the  stream 

Upheld  the  head  and  all  the  chest  beside; 

And  recognized  right  many  of  them.    Thus 


74  THE  DIVINE  COMEDY 

Still  more  and  more  sank  down  the  blood,  imtU 
The  feet  alone  it  cooked;  and  o'er  the  trench 
Here  lay  our  passage.    "As  the  boiling  stream 

130  Thou  seest  ever  dwindling  on  this  side," 
The  Centaur  said,  "I  wish  thee  to  believe 
That  more  and  more  it  lowers  its  bed,  till  round 
It  comes  again  where  tyranny  must  needs 
Lament.    On  this  side  Heaven's  justice  goads 
That  Attila  who  was  a  scourge  on  earth, 
Pyrrhus,  and  Sextus;  and  forever  draws 
The  tears  which  with  the  boiling  it  unseals 
In  Rinier  da  Corneto  and  Rinier  Pazzo, 
Who  caused  upon  the  highways  so  much  strife." 

140  Then  back  he  turned,  and  crossed  the  ford  again. 


b 


CANTO  XIII 

They  enter  the  second  round,  occupied  by  those  who  do  violence 
to  themselves.  The  Wood  of  the  Suicides.  The  broken  branch 
bleeds  and  speaks.  Pier  delle  Vigne  recounts  his  wrongs  and 
protests  his  integrity.  He  explains  to  Dante  how  the  spirits 
of  the  Suicides  are  confined  within  trees.  Lano  da  Siena  and 
Jacomo  da  St.  Andrea  are  seen  tearing  through  the  bushes  and 
pursued  by  dogs.  A  Florentine  Suicide  prophesies  misfortune 
to  Florence. 

Not  yet  had  Nessus  reached  the  other  side, 

When  we  began  our  passage  through  a  wood, 

Which  by  no  path  was  marked.    Not  green  the  leaves, 

But  of  a  dusky  hue;  not  branches  smooth, 

But  gnarled  and  twisted;  and  no  fruits  were  there, 

But  thorns  witft  poison.    Holts  so  rough  and  dense 

Inhabit  not  those  savage  beasts  that  hate 

The  cultivated  tracts  which  are  between 

Caecina  and  Corneto.    In  this  wood 
10  Their  nests  the  ugly  Harpies  make,  which  chased 

The  Trojans  from  the  Strophades  away. 

With  dismal  prophecy  of  future  harm. 

They  have  broad  wings,  and  human  neck  and  face, 

And  feet  with  claws,  and  the  huge  belly  plumed. 

On  the  weird  trees  they  utter  lamentations. 

And  the  good  Master:  "Ere  thou  goest  in 

Farther,"  began  to  say  to  me,  "observe 

That  thou  art  in  the  second  round,  and  there 

Wilt  be,  till  to  the  dreadful  sand  thou  come. 
20  Therefore  look  well,  and  so  thou  shalt  behold 

Things  which  would  faith  in  what  I  say  destroy." 

Already,  upon  every  side,  I  heard 

Wailings  prolonged,  and  saw  no  one  to  make  them; 

75 


76  THE  DIVINE  COMEDY 

Whence,  all  confused,  I  stopped.    I  think  that  he 
Thought  that  I  thought  so  many  voices  came, 
Amid  the  tnmks,  from  people  who  had  hid 
Themselves  because  of  us.    The  Master  said, 
Therefore:  "If  any  twig  thou  breakest  off 
Of  some  one  of  these  plants,  the  thoughts  thou  hast 

30  Will  wholly  come  to  nought."    Then  I  reached  forth 
My  hand  a  little,  and  I  plucked  away 
From  a  great  thorn  a  Httle  branch;  and  cried 
Its  trunk:  "Why  dost  thou  rend  me?"    When  it  had 
Become  thereafter  dark  with  blood,  again, 
"Why  dost  thou  break  me?"  it  began  to  cry. 
"Hast  thou  no  spirit  of  compassion?    We 
Were  men,  and  now  are  shoots  become:  thy  hand, 
Forsooth,  should  have  been  more  compassionate, 
If  we  had  chanced  to  be  the  souls  of  snakes." 

40  As  from  a  green  brand,  lighted  at  one  end. 
Which  from  the  other  drips,  and  with  the  wind 
That  is  escaping,  hisses,  so  came  forth, 
Together,  from  that  splinter,  words  and  blood: 
Wherefore  I  dropped  the  tip,  and  was  like  one 
Who  is  afraid.    "If  he,"  my  Sage  replied, 
"0  wounded  soul,  could  have  behoved  before 
That  which  he  only  in  my  verse  has  seen. 
He  would  not  have  put  forth  his  hand  on  thee; 
But  me  the  thing  incredible  constrained 

50  To  prompt  him  to  an  act  which  burdens  me 
Myself.    But  tell  him  who  thou  wast,  so  that, 
By  way  of  some  amends,  he  may  refresh 
Thy  fame  up  in  the  world  to  which  he  is 
Permitted  to  return."    And  thus  the  trunk: 
"Thou  so  allurest  me  with  pleasant  speech, 
That  I  cannot  be  silent;  and  to  you 
Let  it  not  be  annoying  if  I  am 


I 


INFERNO  XIII  77 

Enticed  to  talk  a  little.    I  am  he 

Who  kept  the  keys  of  Frederick's  heart,  and  these, 
60  So  softly  locking  and  unlocking,  turned, 

That  from  his  secret  almost  every  man, 

I  kept  apart.    Fidelity  so  great 

I  bore  my  glorious  office,  that  I  lost 

My  sleep  and  my  life-pulses  both,  thereby. 

The  harlot  who  ne'er  turned  her  strumpet  eyes 

From  Caesar's  dwelling,  common  death  and  vice 

Of  courts,  inflamed  against  me  every  mind; 

And  these,  inflamed,  inflamed  Augustus  so. 

That  my  glad  honors  turned  to  dismal  griefs. 
70  My  spirit,  moved  by  taste  of  scorn  to  think 

That  I  could  scorn  escape  by  dying,  made 

Me,  although  just,  unjust  against  myself. 

I,  by  the  new  roots  of  this  tree,  to  you 

Swear  that  I  never  to  my  lord,  who  was 

Of  honor  so  deserving,  broke  my  faith. 

And  if  of  you  one  to  the  world  return. 

Let  him  revive  my  memory,  which  still 

Lies  prostrate  from  the  blow  which  Envy  dealt  it." 

Awhile  he  paused,  and  then  the  Poet  said 
80  To  me:  "Since  he  is  silent,  do  not  lose 

The  time,  but  speak,  and  ask  him,  if  it  please 

Thee  to  know  more."    Whence  I  to  him:  "Do  thou 

Still  further  question  him  of  what  thou  think'st 

Will  satisfy  me;  for  such  pity  moves 

My  heart,  that  I  could  not."    He  thereupon, 

Began  again:  "So  may  this  man  for  thee. 

Imprisoned  spirit,  freely  do  whate'er 

Thy  words  entreat  of  him,  as  thou  shalt  please 

To  tell  us  further  how  the  soul  is  bound 
90  Within  these  gnarls;  and  tell  us,  if  thou  canst, 

If  any  from  such  limbs  is  ever  freed." 


78  THE  DIVINE  COMEDY 

Then  strongly  blew  the  trunk,  and  afterward, 
That  wind  was  changed  into  a  voice  Hke  this  : 
"Briefly  an  answer  shall  be  given  you. 
Whene'er  the  spirit  from  the  body  parts, 
Whence,  maddened,  it  has  torn  itself  away, 
Minos  consigns  it  to  the  seventh  gulf. 
It  falls  into  the  forest,  and  no  place 
Is  chosen  for  it  there;  but  there  it  sprouts 

100  Where  fortune  flings  it,  like  a  grain  of  spelt; 
Then  to  a  sapling,  and  a  forest-tree 
It  grows.    The  Harpies,  then,  upon  its  leaves 
Feeding,  give  pain,  and  for  the  pain  a  vent. 
We,  like  the  others,  for  our  spoils  will  come, 
But  not  that  any  one  may  clothe  with  them 
Himself  again;  for  'tis  not  just  that  one 
Should  have  what  from  himself  he  takes  away. 
These  we  shall  hither  drag,  and  up  and  down 
The  dismal  wood  our  bodies  shall  be  hung, 

110  Each  on  the  thomtree  of  its  shade  harassed." 
We  to  the  trunk  as  yet  were  giving  heed. 
Thinking  that  it  might  wish  to  tell  us  more, 
When  by  a  din  we  were  surprised,  like  one 
Who  toward  his  post  perceives  the  boar  and  hunt 
Advancing,  and  who  hears  the  beasts  give  tongue. 
And  branches  crash.    And  lo,  upon  our  left. 
Two,  scratched  and  naked,  in  such  headlong  flight, 
That  every  hurdle  of  the  wood  they  broke. 
"Now  hasten,  hasten  Death!"  the  foremost  cried. 

120  And  the  other  one,  who  thought  himself  too  slow, 
Cried:  "Lano,  not  so  nimble  were  thy  legs 
At  joustings  of  II  Toppo."    And  perhaps 
Because  his  breath  was  failing,  of  himself 
And  of  a  bush  he  made  a  group.    The  wood 
Behind  them  of  black  bitches  was  all  full, 


I 


INFERNO  XIII  79 

Ravenous,  and  like  greyhounds  that  have  slipped 

Their  leashes,  running.    In  that  one  who  crouched 

They  set  their  teeth,  and  tore  him  piece  by  piece; 

Then  carried  off  those  miserable  limbs. 
130  Then  did  my  Escort  take  me  by  the  hand, 

And  led  me  to  the  bush  which,  all  in  vain. 

Was  weeping  through  its  bloody  rents.    It  said: 

'^0  Jacomo  da  Sant'  Andrea,  what 

Availed  it  thee  to  make  of  me  a  screen? 

How  for  thy  sinful  Ufe  am  I  to  blame?" 

When  now  the  Master  was  above  it  standing, 

He  said:  "Who  wast  thou,  who  with  blood  dost  blow 

Through  wounds  so  many  thy  distressful  speech?" 

And  he  to  us:  "0  spirits  who  are  come 
140  To  see  the  shameful  havoc  which  from  me 

Has  thus  my  leaves  dissevered,  gather  them 

At  bottom  of  the  miserable  bush. 

I  of  that  city  was  that  made  exchange 

Of  her  first  patron  for  the  Baptist:  whence, 

Because  of  this,  he  ever,  with  his  art. 

Will  make  it  sorrowful :  and  were  it  not 

That,  on  the  crossing  of  the  Arno,  still 

Remains  of  him  some  semblance,  all  in  vain 

Those  citizens  who  built  it  up  again, 
150  Afterward,  on  the  ashes  which  remained 

From  Attila,— had  had  the  work  performed. 

I  made  myself  a  gibbet  of  my  house. " 


CANTO  XIV 

The  third  round  of  the  seventh  circle.  The  sandy  plain  and  the 
rain  of  fire.  Capaneus.  They  reach  the  stream  of  Phlegethon 
at  another  point.  Vergil  explains  the  origin  of  the  infernal 
rivers. 

Because  affection  for  my  native  place 

Constrained  me,  I  again  the  scattered  leaves 

Gathered,  and  gave  them  back  to  him  who  was, 

By  this  time,  faint.    Then  to  the  bomidary 

We  came,  where  from  the  third  the  second  round 

Divides,  and  where  appears  a  dreadful  mode 

Of  justice.    That  I  clearly  may  explain 

The  novel  things,  I  say  that  to  a  waste 

We  came,  which  from  its  bed  rejects  all  plants. 
10  The  doleful  wood  inwreathes  it,  as  the  wood 

Engirds  the  dismal  trench.    We  stayed  our  steps 

Here  on  the  very  edge.    A  stretch  of  sand 

The  ground  was,  dense  and  dry,  not  different 

In  fashion  from  that  which  by  Cato's  feet 

Was  trodden  once.    Vengeance  of  God!  how  much 

Shouldst  thou  be  feared  by  every  one  that  reads 

That  which  was  manifested  to  my  eyes! 

Of  naked  souls  I  many  bands  beheld. 

Who  all  were  weeping  very  piteously, 
20  And  on  them  seemed  a  law  diverse  imposed. 

Some  people  lay  supine  upon  the  ground; 

Some  sat,  all  huddled  up,  and  others  walked 

Continually.    Far  more  in  number  were 

Those  who  were  going  round,  and  fewer  those 

Who  in  the  torment  lay,  but  freer  were 


INFERNO  XIV  81 

Their  tongues  to  speak  their  woe.    O'er  all  the  sand, 

With  slow  descent,  dilated  flakes  of  fire 

Were  falling  down  like  snow-flakes  in  the  Alps, 

Without  a  wind.    As  in  those  torrid  climes 
30  Of  India,  Alexander,  on  his  host 

Saw  falling  flames,  unbroken,  to  the  ground. 

Wherefore  he  took  precaution,  with  his  troops 

To  trample  down  the  soil,  because  the  vapor 

More  easily  was  stifled  while  alone: 

So  was  descending  that  eternal  heat. 

By  which,  like  tinder  under  steel,  the  sand 

Was  kindled  for  the  doubling  of  the  woe. 

Ever  without  cessation  was  the  dance 

Of  the  poor  hands,  on  this  side  now,  and  now 
40  On  that,  as  from  themselves  they  shook  away 

The  freshly-fallen  burning.    I  began: 

"Master,  who  overcomest  all  things,  save 

The  demons  obstinate  who  issued  forth 

Against  us,  at  the  entrance  of  the  gate, — 

Who  is  that  mighty  soul,  who  for  the  fire 

Seems  not  to  care,  and  lies  so  insolent 

And  lowering,  that  the  rain  does  not  appear 

To  make  him  mellower?"    And  that  same  one, 

Who  was  aware  that  I  was  questioning 
50  My  Guide  about  him,  cried:  "Such  as  I  was 

Alive,  such  am  I  dead.    Though  Jove  should  tire 

His  smith,  from  whom  he  in  his  anger  took 

The  pointed  thunderbolt  by  which  I  was 

Smitten  on  my  last  day,  or  should  exhaust 

By  turns  the  others  at  the  sooty  forge 

In  Mongibello,  crying  'Help,  0  help. 

Good  Vulcan!'  as  he  did  at  Phlegra's  fight, 

And  hurl  with  all  his  might  at  me,— thereby 

He  could  not  have  a  glad  revenge."    My  Guide 


82  THE  DIVINE  CX)MEDY 

60  Then  spoke  with  energy  so  great,  that  I 
Had  ne'er  so  forceful  heard  him:  "Capaneus, 
Punished  the  more  thou  art,  in  that  thy  pride 
Remains  unquenched:  no  torment  save  thy  rage 
Were  pain  that  would  thy  fury's  measure  fill." 
Then,  with  a  calmer  look,  he  turned  to  me, 
And  said:  "One  of  the  seven  kings  was  he. 
Who  Thebes  besieged,  and  held,  and  seems  to  hold 
God  in  contempt,  and  seems  to  prize  him  little: 
But,  even  as  I  told  him,  his  affronts 

70  Are  ornaments  which  well  beseem  his  breast. 
Now  follow  me,  and  see  thou  do  not  set 
Thy  feet,  hereafter,  on  the  burning  sand. 
But  always  keep  them  closely  to  the  wood." 
Silent,  we  reached  the  place  where,  from  the  wood, 
Gushes  a  little  brook,  whose'redness  still 
Makes  me  to  shudder.    As  a  rivulet 
From  Bulicame  flows,  which,  afterward, 
The  sinful  women  share  among  themselves, 
So  downward  through  the  sand  that  brooklet  went. 

80  The  bottom  and  both  banks  were  petrified: 
And,  on  the  side,  the  margins:  wherefore  I 
Perceived  that  there,  by  those,  we  were  to  pass. 
"Among  all  else  that  I  have  shown  to  thee, 
Since  by  the  gate  whose  threshold  is  to  none 
Denied,  we  entered,  by  thine  eyes  has  been 
Nothing  discerned  so  notable  as  is 
The  present  stream,  which  all  the  little  flames 
Above  itself  extinguishes."    These  were 
My  Leader's  words;  whence  I  entreated  him 

90  To  give  me  freely  the  repast  for  which 
He  freely  had  the  cra\ing  given  me. 
"In  mid-sea  lies  a  barren  land,"  he  said, 
"Called  Crete,  beneath  whose  king  the  world,  of  old, 


INFERNO  XIV  83 

Was  innocent.    A  mountain  is  therein, 

Called  Ida,  which  with  waters  and  with  leaves, 

Of  old,  was  glad;  now,  like  a  thing  outworn, 

'Tis  desert.    Rhea,  in  the  days  of  old, 

As  a  safe  cradle  for  her  little  son. 

Chose  it,  and  better  to  conceal  him,  caused 
100  Loud  outcries  to  be  made  there  when  he  wailed. 

Within  the  mountain  stands  a  great  old  man. 

Erect,  who  keeps  toward  Damietta  turned 

His  shoulders,  while  he  gazes  upon  Rome, 

As  though  it  were  his  mirror.    Of  fine  gold 

His  head  is  fashioned,  and  his  arms  and  breast 

Are  of  pure  silver.    Then  far  as  the  fork, 

He  is  of  brass,  and  downward  thence  is  all 

Of  chosen  iron,  save  that  his  right  foot  is 

Baked  clay,  and  upon  this  he  stands  erect 
110  More  than  upon  the  other.    Every  part, 

Except  the  gold,  is  by  a  fissure  cleft, 

Dripping  with  tears  which,  gathered,  through  that  cave 

A  passage  make.    From  rock  to  rock  descends 

Their  course  into  this  valley:  Acheron 

They  form,  and  Styx,  and  Phlegethon:  then  down 

Along  this  narrow  channel  take  their  way. 

To  where  there  is  no  more  descent;  they  form 

Cocytus;  and  what  kind  of  pool  that  is 

Thou  shalt  behold:  so  here  I  do  not  tell." 
120  And  I  to  him:  "If  thus  the  present  rill 

Down  from  our  world  is  flowing,  why  to  us 

Appears  it  only  at  this  edge?"    And  he: 

"Thou  knowest  that  the  place  is  circular. 

And  though  thou  hast  come  far,  continually 

Descending  toward  the  bottom  to  the  left. 

Thou  hast  not  yet  through  the  whole  circle  turned; 

And  therefore  if  aught  new  appear  to  us, 


84  THE  DIVINE  COMEDY 

It  ought  not  to  bring  wonder  to  thy  face." 
And  I  again:  "My  Master,  where  are  found 

130  Lethe  and  Phlegethon?  for  of  the  one 
Thou  sayest  nothing,  and  the  other  one, 
Thou  sayest,  by  this  rain  is  made."    "In  sooth, 
In  all  thy  questions  well  thou  pleasest  me," 
He  answered,  "but  the  one  which  thou  dost  ask, 
The  boiling  of  the  crimson  stream  should  well 
Have  solved.    Thou  shalt  see  Lethe,  but  outside 
This  pit,  there  where  to  bathe  themselves  repair 
The  spirits,  when  their  sin,  repented  of, 
Is  put  away."    Then  said  he:  "Now  'tis  time 

140  To  quit  the  wood:  see  that  thou  follow  me: 
The  margins  make  a  path,  for  they  are  not 
On  fire,  and  over  them  all  flame  is  quenched." 


I 


CANTO  XV 

They  pass  on  along  the  margin  of  Phlegethon.  The  banks  of  the 
river  described.  They  meet  a  company  of  spirits,  among  whom 
is  Brunetto  Latini,  who  recognizes  Dante,  and  accompanies 
him  for  a  time.  He  predicts  for  him  misfortune  at  the  hands  of 
the  Florentines.  He  names  some  of  the  most  prominent  persons 
among  the  shades.  By  the  approach  of  another  company  he 
is  forced  to  leave  Dante,  and  rejoins  his  comrades. 

Now  one  of  the  hard  margins  bears  us  on, 

And  overhead  the  brooklet's  smoke  a  shade 

Diffuses,  so  that  from  the  fire  it  saves 

The  water  and  the  banks.    As  'twixt  Wissant 

And  Bruges,  the  Flemings,  fearful  of  the  flood 

Which  toward  them  sweeps,  to  put  to  flight  the  sea 

Their  bulwarks  build, — and  as  the  Paduans 

Along  the  Brenta,  to  defend  their  towns 

And  forts,  ere  Chiarentana  feels  the  heat,— 
10  After  such  fashion  these  were  formed,  although, 

Whate'er  it  was,  neither  so  high  nor  thick 

The  master  made  them.    From  the  forest  now 

We  were  so  far  removed,  that  where  it  was 

I  could  not  have  discerned  had  I  turned  back, 

When  we  a  troop  of  spirits  met,  that  came 

Along  the  embankment,  and  each  looked  at  us, 

As  one  is  wont  another  one  to  scan 

At  evening,  under  a  new  moon;  and  they, 

With  puckered  brows,  intently  peered  at  us, 
20  Like  an  old  tailor  at  a  needle's  eye. 

Thus  eyed  by  such  a  company,  I  was 

By  some  one  recognized,  who  seized  upon 

My  mantle's  hem,  and  cried:  "0  what  a  marvel!" 

And  I,  when  he  stretched  out  his  arm  to  me, 

85 


86  THE  DIVINE  COMEDY 

Fastened  my  eyes  on  his  baked  countenance, 
So  that  his  blackened  face  did  not  prevent 
My  mind  from  knowing  him;  and  bending  down 
My  face  to  his,  I  answered:  "Are  you  here, 
Master  Brunetto?"  "0  my  son,"  he  said: 

30  "If  Brunetto  Latini  turn  with  thee 
A  little  back,  and  let  his  troop  go  on. 
Let  it  not  irk  thee."    I  repUed  to  him: 
"With  all  my  power  I  beg  this  thing  of  you; 
And  if  you  wish  that  I  sit  down  with  you, 
I  will  do  so,  if  it  please  that  one  there. 
For  I  am  going  with  him."    "Son,"  he  said, 
"Whoever  of  this  herd  an  instant  stops. 
Thereafter  lies  a  hundred  years,  without 
Fanning  himself,  when  the  fire  smites  on  him. 

40  Therefore  move  on:  I  at  thy  skirts  will  come, 
And  then  I  will  rejoin  my  company, 
Which  goes  lamenting  its  eternal  hurt." 
Down  from  the  road  I  did  not  dare  to  step, 
Level  to  go  with  him;  but  held  my  head 
Bent  down,  Uke  one  who  reverently  walks. 
And  he  began:  "What  chance  or  destiny 
Brings  thee  down  here  before  thy  final  day? 
And  who  is  this  that  shows  the  way  to  thee?" 
"Up  yonder,  in  the  tranquil  hfe  above," 

50 1  answered  him,  "I  lost  me  in  a  vale. 

Ere  I  had  reached  full  age.    But  yestermorn 
I  turned  my  back  upon  it:  as  I  was 
Returning  thither,  he  appeared  to  me. 
And  by  this  road  is  homeward  leading  me." 
And  he  to  me:  "If  thou  thy  star  pursue. 
Thou  canst  not  fail  to  reach  a  glorious  port, 
If  I,  in  the  fair  life,  discerned  aright. 
And  if  I  had  not  so  untimely  died, 


INFERNO  XV  87 

Seeing  that  Heaven  was  so  kind  to  thee, 
60  I  would  have  given  thee  comfort  in  thy  work. 

But  that  maUcious,  thankless  populace, 

Which  from  Fiesole  came  forth  of  old. 

Which  smacks  still  of  the  mountain  and  the  rock, 

Will  make  itself  thine  enemy,  because 

Of  thy  well-doing:  and  with  reason,  since 

It  is  not  meet  that  the  sweet  fig  bear  fruit 

Among  tart  sorbs.    Old  gossip  in  the  world 

Reports  them  blind;  it  is  a  greedy  folk. 

Envious  and  haughty.    See  to  it  that  thou 
70  Do  cleanse  thee  from  their  habits.    Honor  such 

For  thee  reserves  tl^y  fortune,  that  for  thee 
,    Both  parties  shall  be  hungry:  but  the  grass 

Shall  be  far  from  the  goat.    Of  their  own  selves 

Let  the  Fiesolan  beasts  a  litter  make,. 

And  let  them  not  lay  hands  upon  the  plant. 

If  any  on  their  dunghill  yet  springs  up,  - 

In  which  those  Romans'  holy  seed  revives. 

Who  there  remained  when  it  became  the  nest 

Of  so  much  wickedness."    "If  my  desire 
80  Had  wholly  been  fulfilled,"  I  answered  him, 

"You  would  not  yet  be  put  in  banishment 

From  human  kind:  for  in  my  mind  is  fixed. 

And  touches  now  my  heart  your  dear  and  good 

Paternal  image,  when  you,  in  the  world. 

Taught  me  from  hour  to  hour  how  man  becomes 

Eternal:  and  'tis  meet  that  in  my  speech. 

Long  as  I  live,  should  be  discerned  how  much 

I  prize  it.    What  you  tell  of  my  career 

I  note,  and  this,  to  gloss  with  other  text, 
90 1  for  a  lady  keep,  who  will  know  how. 

If  I  attain  to  her.    Thus  much  I  would 

Have  clear  to  you,  that  I,  so  chide  me  not 


88  THE  DIVINE  COMEDY 

My  conscience,  am  for  Fortune,  as  she  wills, 
Prepared.    Such  earnest  is  not  to  my  ears 
Novel :  let  Fortune  therefore  turn  her  wheel 
At  pleasure,  and  the  churl  his  mattock."    Then 
The  Master,  on  the  side  of  the  right  cheek, 
Turned  back,  and  looked  at  me;  and  then  he  said: 
"He  listens  well  who  marks  it."    None  the  less, 

100  Talking  with  Ser  Brunetto,  I  go  on. 

And  ask  who  are  his  comrades  most  renowned 
And  eminent.    And  he  to  me :  "  'Tis  good 
To  know  of  some :  'twill  be  commendable 
About  the  others  to  keep  still,  because 
For  so  much  talking  short  would  be  the  time. 
Know  thou,  in  fine,  that  all  of  them  were  clerks, 
And  men  of  letters,  great  and  much  renowned, 
Defiled  by  one  same  trespass  in  the  world. 
Priscian,  with  yonder  miserable  crowd, 

110  Pursues  his  way,  and  Francesco  d'Accorso: 
If  thou  hadst  had  a  hankering  for  such  scurf. 
Him  too  thou  couldst  have  seen,  who  was  transferred 
From  Amo,  by  the  servants'  Servitor, 
To  Bacchiglione,  where  he  left  behind 
His  nerves  o'erstrained  by  sin.    I  would  say  more. 
But  longer  must  not  be  my  walk  and  talk, 
Because,  arising  yonder  from  the  sand, 
I  see  fresh  dust.    A  folk  draws  near  with  whom 
I  must  not  be.    Let  my  Tesoro  be 

120  Commended  to  thee,  in  the  which  I  still 
Survive,  and  more  I  ask  not."    Thereupon 
He  turned  him  back,  and  seemed  hke  one  of  those 
Who,  at  Verona,  run  across  the  plain. 
For  the  green  cloth;  and  seemed  of  them  to  be 
The  one  that  wins,  and  not  the  losing  one. 


CANTO  XVI 

Another  group  composed  of  military  or  civil  officials.  Jacopo 
Rusticucci  inquires  about  the  condition  of  Florence,  which 
Dante  describes.  The  sound  of  falling  water  indicates  the 
approach  to  the  descent  into  the  eighth  circle.  Vergil  throws 
the  cord  with  which  Dante  is  girt  into  the  abyss.    Geryon  appears. 

Now  I  was  in  a  place  where  there  was  heard 

The  booming  of  the  water,  falling  down 

Into  the  next  round,  like  the  humming  made 

By  beehives,— when  three  shades  detached  themselves 

Together,  running,  from  a  passing  troop. 

Beneath  the  rain  of  the  sharp  torment.    They 

Came  toward  us,  and  each  one  was  crying:  "Stay! 

Thou  who  appearest  to  us,  by  thy  garb, 

To  be  an  inmate  of  our  wicked  city." 

10  Ah  me!    What  wounds  upon  their  limbs  I  saw, 
Both  old  and  recent,  by  the  flames  burnt  in! 
But  to  remember  this  afflicts  me  still 
For  them.    My  teacher  to  their  cry  gave  heed. 
His  face  toward  me  turned,  and  said:  "Now  wait; 
To  these  one  should  be  courteous:  and  if 
It  were  not  for  the  fire,  to  dart  the  which 
The  nature  of  the  place  is,  I  would  say 
That  thee  the  haste  befitted  more  than  them." 
They,  when  they  stopped,  began  their  former  strain 

20  Again,  and  when  they  had  come  up  to  us. 
All  three  of  them  made  of  themselves  a  wheel. 
As  were  the  oiled  and  naked  champions  wont. 
Their  grip  and  vantage  spying  out,  before 
They  interchanged  their  mutual  blows  and  thrusts, 
Thus,  wheeling,  each  directed  toward  me 

89 


90  THE  DIVINE  COMEDY 

His  visage,  so  that  ever  moved  his  neck 
In  contrary  direction  to  his  feet. 
"And  if,"  the  one  began,  "the  misery 
Of  this  unstable  place,  together  with 

30  Our  aspect  stained  and  stripped,  inspire  contempt 
For  us  and  our  entreaties,  let  our  fame 
Incline  thy  mind  to  tell  us  who  thou  art, 
Who,  thus  secure,  dost  trail  thy  living  feet 
Through  Hell.    He  in  whose  tracks  thou  seest  me  tread, 
Although  he  flayed  and  naked  goes,  in  rank 
Was  higher  than  thou  thinkest.    Grandson  he 
Was  of  the  good  Gualdrada;  and  his  name 
Was  Guido  Guerra.    In  his  hfe  he  did 
With  sword  and  wisdom  much.    The  other  is 

40  Tegghiaio  Aldobrandi,  who  the  sand 

Behind  me  treads,  whose  fame  up  in  the  world 
Should  have  been  cherished.    And  I  who  with  them 
\m  tortured,  was  Jacopo  Rusticucci: 
And  certainly  my  savage  wife  is,  more 
Than  aught  beside,  my  bane."    If  from  the  fire 
I  had  been  sheltered,  down  I  would  have  leaped 
Among  them,  and  my  Teacher  would,  I  think. 
Have  suffered  it.    But  since  I  should  have  burned 
And  roasted  me,  my  fear  prevailed  above 

50  My  good  ml\,  which  to  clasp  them  in  my  arms 
Had  made  me  greedy.    "Not  contempt,"  I  then 
Began,  "but  sorrow,  your  condition  so 
Fastened  within  me,  that  it  will  be  long 
Ere  it  is  wholly  stripped  away,— as  soon 
As  this  my  lord  said  words  to  me,  from  which 
I  thought  that  folk  Uke  you  were  drawing  near. 
I  of  your  city  am,  and  evermore 
Have  lovingly  rehearsed  and  heard  your  deeds 
And  honored  names.    I  leave  the  gall,  and  go 


INFERNO  XVI  91 

60  After  sweet  fruits  which  by  my  truthful  Guide 

Are  promised  me;  but  first  I  must  descend 

As  far  as  to  the  centre."    "So  may  long 

Thy  soul  direct  thy  limbs/'  he  then  replied, 

"And  so  may  thy  renown  shine  after  thee, 

As  thou  shalt  tell  if  courtesy  and  worth 

Still  in  our  city  dwell,  as  they  are  wont, 

Or  if  they  wholly  are  gone  forth  from  it? 

For  Guglielmo  Borsiere,  who  with  us 

Has  suffered  torment  for  a  short  time  past, 
70  And  yonder  with  our  comrades  goes  along. 

Much  with  his  words  provokes  us."    "The  new  folk, 

And  sudden  gains,  0  Florence,  have  in  thee. 

Excess  and  pride  engendered,  so  that  thou 

Thereat  already  weepest."    Thus  I  cried. 

With  face  uplifted:  and  the  three  who  took 

This  for  an  answer,  at  each  other  looked. 

As  men  do  when  the  truth  is  heard.    "If  thou,"  * 

They  all  replied,  "canst,  at  so  little  cost. 

At  other  times  another  satisfy, 
80  Thou  happy  art,  if  thus  as  pleases  thee 

Thou  speakest.    Wherefore,  if  thou  shalt  escape 

These  gloomy  regions,  and  return  to  see 

The  beauteous  stars  again,  when  thou  shalt  be 

Rejoiced  to  say:  'I  was,'  see  that  thou  talk 

About  us  to  the  people."    Then  they  broke 

Then*  wheel,  and  as  they  fled,  their  nimble  legs 

Seemed  wings.    An  Amen  could  not  have  been  said 

So  quickly  as  they  vanished:  it  appeared 

Good  to  the  Master,  therefore,  to  depart. 
90  I  followed  him,  and  far  we  had  not  gone. 

Before  so  near  us  was  the  water's  sound. 

That,  had  we  spoken,  we  had  scarce  been  heard. 

Just  as  that  stream  which  is  the  first  that  holds,     • 


92  THE  DIVINE  COMEDY 

Eastward,  from  Monte  Veso,  its  own  course 
On  the  left  flank  of  Apennine,  and  is, 
Above,  called  Acquacheta,  ere  it  sinks 
Into  its  lowly  bed,  and  at  Forli 
That  name  has  lost,— re-echoes  there  above 
San  Benedetto  of  the  Mount,  because 

100  It  downward  plunges  at  a  single  leap. 

Where  shelter  for  a  thousand  should  have  been, — 
So  downward  from  a  bank  precipitous. 
We  found  that  water  dark,  with  such  a  din 
Resounding,  that  it  would,  in  Kttle  time. 
Have  stunned  the  ears.    Around  me  gu-t  I  had 
A  cord;  and  once  with  this  I  thought  to  catch 
The  pard  with  spotted  skin.    When  from  myself 
I  wholly  had  unloosed  it,  as  my  Guide 
Had  bidden  me,  I  handed  it  to  him, 

110  Gathered  and  coiled.    Thereat  he  turned  himself 
To  the  right  side,  and  some  way  from  the  edge 
He  threw  it  down  into  that  deep  abyss. 
"And  surely  something  new,"  within  myself 
I  said,  "must  to  this  novel  sign  respond, 
Which  with  his  eye  my  Master  follows  thus!" 
Ah,  how  much  caution  men  should  use,  when  near 
To  those  who  not  alone  the  act  behold. 
But  by  their  wisdom  look  within  the  thought! 
He  said  to  me:  "What  I  am  waiting  for 

120  Will  soon  come  up,  and  that  of  which  thy  thought 
Is  dreaming,  quickly  to  thy  sight  must  be 
Discovered."    Always,  to  that  truth  which  wears 
The  guise  of  falsehood,  one  should  close  his  lips, 
As  far  as  possible,  because  it  brings 
Shame  without  fault;  but  here  I  cannot  be 
Silent  concerning  this:  and  by  the  strains 
Of  this  my  Comedy,  I  swear  to  thee, 


INFERNO  XVI  93 


Reader,— so  may  they  not  be  destitute 
Of  lasting  approbation,— that  a  shape, 
130  Fearful  to  every  heart,  however  bold, 
I  saw  come  swimming  upward,  as  when  he 
Who  down  at  times  to  clear  an  anchor  goes, 
Fouled  with  a  rock,  or  other  thing  concealed 
Within  the  sea,— returns,  and  stretches  forth 
Himself  above,  and  draws  him  up  beneath. 


CANTO  XVII 

Geryon^s  appearance  described.  Vergil  confers  with  him.  Dante 
meanwhile  turns  aside  to  visit  the  Usurers  who  are  sitting  near 
the  mouth  of  the  pit.  Returning,  he  finds  Vergil  seated  upon 
Geryon's  back,  and  mounts  in  front  of  him.  Geryon  descends^ 
and  deposits  the  two  poets  at  the  bottom  of  the  shaft. 

"Behold  the  monster  with  the  pointed  tail, 

That  passes  mountains,  walls  and  weapons  breaks; 

See  him  that  all  the  world  with  stench  pollutes." 

My  Leader  thus  began  to  speak  to  me. 

And  to  the  brink  he  beckoned  him  to  come, 

Near  where  the  marble  causeway  we  had  trod 

Came  to  an  end:  and  that  foul  effigy 

Of  fraud  came  on,  and  brought  his  head  and  bust 

Ashore,  but  on  the  bank  drew  not  his  tail. 
10  His  face  the  face  was  of  a  righteous  man; 

So  kind  a  semblance  outwardly  it  wore, 

And  all  his  trunk  a  serpent's  was.    He  had 

Two  arms,  up  to  the  armpits  clothed  with  hair: 

He  had  his  back,  and  breast,  and  both  his  sides 

With  knots  embellished  and  with  little  shields. 

Never  did  Turks  or  Tartars  make  a  cloth 

With  colors  more,  o'ershot  or  underlaid. 

Nor  on  the  loom  were  by  Arachne  laid 

Such  webs.    As  sometimes  lie  upon  the  shore 
20  The  wherries,  part  in  water,  part  on  land, 

And  as,  among  the  gorging  Germans  yonder. 

The  beaver  plants  himself  to  wage  his  war, 

So,  on  the  rim  of  stone  which  closes  in 

The  sand,  that  vilest  monster  lay.    His  tail 

All  in  the  void  was  quivering,  as  it  writhed 

94 


INFERNO  XVII  95 

Upward  the  venomed  fork  which  armed  the  point, 

In  fashion  of  a  scorpion.    My  Guide 

Said:  "Now  our  path  a  little  must  diverge, 

As  far  as  to  that  evil  beast  which  there 
30  Is  couching."    Therefore  on  the  right  we  went 

Downward,  and  walked  ten  paces  on  the  verge, 

That  we  might  wholly  shun  the  sand  and  flame : 

And  when,  a  little  farther  on,  we  came 

To  him,  I  saw,  sitting  upon  the  sand. 

Some  people  near  the  precipice.    To  me 

Here  said  the  Master:  "That  thou  mayst  with  thee 

Bear  away  full  experience  of  this  round. 

Go,  see  their  state;  and  there  let  thy  discourse 

Be  brief:  till  thou  return,  I  with  this  beast 
40  Will  speak,  that  he  may  yield  his  shoulders  strong 

To  us."    Thus  all  alone,  once  more  I  went 

Along  that  seventh  circle's  outmost  ridge. 

To  where  the  melancholy  people  sat. 

Their  sorrow  through  their  eyes  was  bursting  forth: 

They  with  their  hands,  on  this  side  and  on  that, 

Themselves  defended,  now  against  the  flames. 

Now  from  the  burning  soil.    Not  otherwise, 

In  summer,  do  the  dogs,  with  muzzle  now. 

And  now  with  paws,  when  they  are  stung  by  fleas, 
50  Or  flies  or  gadflies.    When  I  set  my  eyes 

Upon  the  face  of  certain  ones  on  whom 

The  grievous  fire  is  falling,  none  of  them 

I  knew,  but  I  perceived  that  from  the  neck 

Of  each  there  hung  a  pouch  of  certain  hue, 

And  certain  blazon:  and  with  these,  it  seems, 

Their  eye  is  fed.    And  as  I,  scanning  them. 

Among  them  came,  upon  a  yellow  purse 

I  azure  saw,  which  of  a  lion  had 

The  face  and  bearing.    Then,  as  onward  went 


96  THE  DIVINE  COMEDY 

60  The  movement  of  my  look,  I  saw  of  them 
Another,  red  as  blood,  display  a  goose, 
Whiter  than  butter.    And  to  me  said  one 
Who  with  a  blue  and  pregnant  sow  had  marked 
His  wallet  white,  "What  dost  thou  in  this  ditch? 
Now  get  thee  gone:  and  since  thou  livest  still, 
Know  that  upon  my  left  side  here  shall  sit 
My  fellow-citizen,  Vitalian. 
A  Paduan  I  among  these  Florentines. 
Ofttimes  my  ears  they  deafen,  thundering: 

70  'Let  come  the  knight  supreme  who  here  shall  bring 
The  pouch  with  the  three  beaks!'  "    He  twisted  here 
His  mouth,  and  thrust  his  tongue  out,  like  an  ox 
That  licks  his  nose.    And  fearing  longer  stay 
Might  worry  him  who  had  admonished  me 
To  tarry  briefly,  from  the  weary  souls 
I  turned  me  back  again.    I  found  my  Guide, 
Who  had  ah-eady  mounted  on  the  rump 
Of  the  fierce  animal :  and  he  to  me 
Said:  "Now  be  strong  and  bold.    By  stair  like  this 

80  Henceforward  we  descend.    Mount  thou  in  front, 
For  I  would  be  between,  that  so  the  tail 
May  have  no  power  to  harm."    As  he  who  has 
So  near  at  hand  the  quartan  shivering-fit. 
That  livid  now  his  nails  are,  and  his  frame 
Trembles  all  over  when  he  only  looks 
Upon  a  shady  place,  such  I  became, 
At  utterance  of  these  words;  but  shame  in  me 
His  admonitions  wrought,  the  shame  which  makes 
A  servant  brave  before  a  worthy  lord. 

90  Upon  those  shoulders  huge  I  took  my  seat: 
I  would  have  said,  but  that  my  voice  came  not 
As  I  believed  it  would,  "Be  sure  that  thou 
Embrace  me."    But  he  who,  at  other  times. 


INFERNO  XVII  97 

Had  come  in  other  hazard,  to  my  aid, 

Soon  as  I  mounted  clasped  me  with  his  arms, 

And  held  me  up,  and  said:  "Now  Geryon,  go! 

Large  let  thy  circles  be,  and  thy  descent 

Be  slow:  think  of  the  novel  load  thou  hast!" 

As  from  its  berth  the  little  craft  moves  out, 
100  Backward,  still  backward,  so  he  drew  away; 

And  when  quite  free  he  felt  himself,  he  turned 

His  tail  to  where  his  breast  had  been,  and  this, 

Outstretched,  moved  Hke  an  eel,  and  drew  the  air 

Toward  him  with  his  arms.    I  do  not  think 

That  there  was  greater  fear  when  Phaethon 

Let  go  the  reins,  whereby,  as  still  appears. 

The  heaven  was  scorched:  nor  when  poor  Icarus 

Perceived  his  loins  made  by  the  melted  wax 

All  bare  of  feathers,  while  his  father  cried: 
110  "Thou  boldest  a  bad  course!"— than  was  my  fear, 

When  I  perceived  myself  on  every  side 

Encompassed  by  the  air,  and  every  sight, 

Save  of  the  monster,  vanished.    On  he  goes, 

Slowly,  still  slowly  swimming,  wheels,  descends: 

But  I  perceive  it  not,  save  that  the  wind 

Blows  on  my  face,  and  from  below.    I  heard, 

Already,  on  the  right,  beneath  us  make 

The  gulf  a  hideous  booming;  whereupon. 

With  eyes  cast  downward,  I  thrust  out  my  head. 
120  Then  at  the  precipice  I  more  was  scared: 

For  I  saw  fires,  and  lamentations  heard: 

Whereat  I,  trembling,  wholly  drew  myself 

Together.    And  I  then  discerned,  for  I 

Had  not  before  perceived  it,  the  descent 

And  circling,  by  the  dreadful  ills  which  were 

Near  to  us  drawing  upon  different  sides. 

As  falcon  which  has  long  been  on  the  wing, 


98  THE  DIVINE  COMEDY 

Which,  without  sight  of  lure  or  bird,  constrains 
The  falconer  to  say:  "Ah  me!  thou  stoopest!" 
130  With  hundred  wheelings,  to  the  place  from  which 
It  started  swiftly,  wearily  descends. 
And  from  its  master  far  away  aUghts, 
Haughty  and  sullen,— thus  did  Geryon  set 
Us  at  the  bottom,  at  the  very  foot 
Of  the  sheer  rock;  and,  from  our  persons  freed, 
He  vanished,  hke  an  arrow  from  the  string. 


CANTO  XVIII 

The  eighth  circle.  Maleholge  described.  In  the  first  trench  are 
seen  Panders  and  Seducers  scourged  by  demons.  Venedico 
Caccianimico.  Jason.  The  second  trench,  where  the  Fhiterers 
are  seen  immersed  in  filth. 

There  is  a  place  in  Hell  called  Malebolge, 

Wholly  of  stone,  and  of  an  iron  hue, 

As  is  the  circling  wall  which  round  it  winds. 

Right  in  the  middle  of  the  noisome  plain 

There  yawns  a  pit,  exceeding  wide  and  deep, 

Whereof  the  structure,  in  its  proper  place, 

I  will  describe.    The  belt,  then,  which  between 

The  pit  and  foot  of  the  high,  stony  bank 

Remains,  is  round,  and  has  its  bed  divided 
10  Into  ten  valleys.    Figure  such  as,  where, 

The  ramparts  to  defend,  successive  moats 

The  castles  gird,  the  region  where  they  are 

Presents,— such  image  those  presented  here: 

And  as  in  such  strongholds  small  bridges  are 

Thrown  from  their  entrance  to  the  outmost  bank, 

So  crags,  out  from  the  bottom  of  the  cUff 

Shot,  which  the  dikes  and  trenches  cut  across, 

Down  to  the  pit  which  truncates  and  collects  them. 

In  this  place,  shaken  off  from  Geryon's  back, 
20  We  found  ourselves,  and  to  the  left  the  Bard 

Held  on,  and  I  went  after  him.    I  saw, 

On  the  right  hand,  a  novel  form  of  woe; 

New  torments,  and  new  scourges,  with  the  which 

The  first  trench  was  all  filled.    All  naked  were 

The  sinners  at  the  bottom:  on  our  side 

The  middle,  they  were  coming  with  their  face 

99 


100  THE  DIVINE  COMEDY 

Toward  us:  and  upon  the  other  side, 
Along  with  us,  but  with  a  longer  stride: 
Just  as  the  Romans  have  devised  a  plan, 

30  Because  of  the  vast  concourse  in  the  year 
Of  Jubilee,  across  the  bridge  to  pass 
The  people,  so  that,  on  the  one  side,  all 
Face  toward  the  Castle,  and  are  moving  on 
Toward  Saint  Peter's;  on  the  other  edge. 
They  go  toward  the  Mount.    On  either  side 
I  saw  horned  fiends  along  the  dingy  stone. 
With  monstrous  whips,  who  fiercely  from  behind 
Were  lashing  them.    Ah  how,  with  the  first  blows. 
They  made  them  hft  their  shanks!    No  one,  be  sure, 

40  Stopped  for  the  second  or  the  third.    While  I 
Was  going  on,  my  eyes  encountered  one; 
And  straightway  thus  I  said:  "For  sight  of  him 
I  have  not  fasted  heretofore."    I  stayed. 
Therefore,  my  feet,  that  I  might  make  him  out: 
And  my  dear  Leader  stopped  along  with  me. 
And  gave  me  leave  to  go  a  little  back: 
And  that  whipped  one  supposed  he  could  conceal 
Himself  by  bending  down  his  face,  but  that 
Availed  him  little:  for  I  said  to  him: 

50  "  Thou  who  dost  cast  thine  eye  upon  the  ground, 
If  are  not  false  the  featiu-es  thou  dost  wear, 
Thou  art  Venedico  Caccianimico; 
But  what  doth  bring  thee  to  such  stinging  Salse?" 
And  he  to  me:  "To  tell  it  I  am  loath; 
But  thy  clear  speech  which  makes  me  recollect 
The  former  world,  compels  me.    I  was  he 
Who  did  Ghisolabella  bring  to  do 
The  Marquis's  will,  however  may  be  told 
The  shameful  story.    And  of  Bolognese 

60  I  am  not  here  the  only  one  who  mourns: 


INFERNO  XVIII  '  101 

Nay,  rather  is  this  place  so  full  of  them, 

That  not  so  many  tongues  are  taught  to  say 

Sipa,  'twixt  Reno  and  Savena  now: 

And  if  thou  wantest  pledge  or  proof  of  this, 

Our  avaricious  spirit  call  to  mind." 

While  thus  he  spoke,  a  demon  with  his  whip 

Smote  him,  and  said:  "Be  off,  thou  pimp!    There  are 

No  women  here  to  let."    I  joined  again 

My  escort:  then  with  a  few  steps  we  came 
70  To  where  a  crag  projected  from  the  bank. 

Right  easily  we  mounted  that,  and  turned 

Toward  the  right,  along  its  spHntered  mass 

We  from  those  endless  circlings  went  away. 

When  we  were  where  it  opens  underneath. 

To  give  a  passage  to  the  scourged,  my  Guide 

Said:  "Wait,  and  of  these  others  born  to  ill. 

The  face  of  whom  thou  hast  not  yet  beheld. 

Allow  the  sight  to  strike  on  thee,  for  they 

Have  gone  along  with  us."    From  the  old  bridge 
80  We  scanned  the  file  which  on  the  other  side 

Was  coming  toward  us,  in  like  fashion  driven 

Before  the  scourge.    The  worthy  Master  said. 

Unasked,  to  me:  "Behold  that  stately  shade 

Approaching,  who  appears,  for  all  his  pain, 

To  shed  no  tear.    What  regal  aspect  still 

He  keeps!    That  one  is  Jason,  who  by  craft 

And  courage  robbed  the  Colchians  of  the  ram. 

He  passed  by  Lemnos'  island,  after  that 

The  women  bold  and  pitiless  had  given 
90  All  of  their  males  to  death;  and  with  fine  words 

And  tokens,  there  seduced  Hypsipyle, 

The  Httle  maiden  who  had  all  the  rest 

Already  cheated.    Pregnant  and  forlorn 

He  left  her  there :  such  guilt  to  torment  such 


102  THE  DIVINE  COMEDY 

Condemns  him;  and  Medea  is  avenged 
Besides.    With  him  go  all  who  in  such  wise 
Delude:  and  let  this  be  enough  to  know 
Of  the  first  valley  and  of  those  it  holds 
Within  its  fangs."    Ah-eady  we  had  come 

100  To  where  the  narrow  pathway  intersects 
The  second  dike,  and  for  another  arch 
A  buttress  makes  of  that.    From  here  we  heard 
Folk  who  are  in  the  next  trench  whimpering, 
And  with  then-  muzzle  snort,  and  with  their  pahns 
Belabor  them.    The  banks  are  with  a  mould 
Incrusted,  by  the  vapor  from  below 
Which  sticks  thereon,  and  with  the  eyes  and  nose 
Did  battle.    Hollowed  out  the  bottom  is. 
So  that  no  place  suffices  us  to  see, 

110  Without  our  mounting  to  the  arch's  back, 
Where  highest  is  the  crag.    To  this  we  came, 
And  in  the  pit  below,  from  there  I  saw 
People  immersed  in  ordure,  which  appeared 
To  be  from  hiunan  privies  brought:  and  while 
I  with  my  eye  was  searching  there  below, 
I  saw  one  with  his  head  so  foul  with  dung, 
That  it  was  not  apparent  whether  he 
Were  clerk  or  layman.    He,  reproachfully. 
Bawled  out  to  me:  "Why  art  thou  greedy  more 

120  To  look  at  me  than  at  the  other  ones 

Befouled?"    And  I  to  hun:  "Because,  ere  now, 

If  rightly  I  remember,  I  have  seen 

Thee  with  dry  hair,  and  thou  of  Lucca  art, 

Alessio  Interminei:  therefore  more 

Than  all  the  rest  I  eye  thee.    And  he  then. 

Beating  his  pate:  "The  flatteries  wherewith 

My  tongue  was  never  cloyed  have  plunged  me  here 

Below."    Thereafter  said  to  me  my  Guide: 


INFERNO  XVIII  103 

"See  that  a  little  thou  advance  thy  look, 
130  So  that  thou  with  thine  eyes  mayst  fully  reach 
The  face  of  that  unclean,  dishevelled  drab, 
Who  yonder  with  her  filthy  nails  doth  score 
Herself,  and  who  is  squatting  now,  and  now 
Standing  upon  her  feet.    The  harlot  she, 
Thais,  who  to  her  lover,  when  he  said: 
'Have  I  much  thanks  from  thee?'    'Nay,  marvellous!' 
Replied.    And  for  our  sight  let  this  suffice." 


CANTO  XIX 

The  third  trench,  where  the  Simoniacs  are  punished.  Vergil  con- 
veys Dante  to  the  bottom  of  the  trench  in  order  that  he  may 
converse  with  a  spirit  who  is  writhing  under  severe  torture ^ 
and  who  proves  to  he  Pope  Nicholas  III.  Dante  denounces  to 
him  the  rapacity  of  the  clergy. 

0  Simon  Magus!    0  ye  followers, 
Wretxjhed,  because  ye,  greedily,  for  gold 
And  silver,  prostitute  the  things  of  God, 
Which  ought  to  be  the  brides  of  righteousness; 
Now  it  is  meet  the  trumpet  sound  for  you. 
Because  in  the  third  trench  you  have  your  place. 
To  the  next  tomb  we  had  already  climbed. 

On  that  part  of  the  crag  which  overhangs 
The  very  middle  of  the  trench.    How  great, 
10  Wisdom  supreme,  the  art  thou  dost  display, 
In  Heaven,  on  earth,  and  in  the  evil  world! 
And  how  great  justice  does  thy  power  dispense! 
Along  the  bottom  and  along  the  sides, 

1  saw  the  livid  rock  all  full  of  holes, 
All  of  one  size,  and  each  was  circular. 

Not  less  in  measure  nor  more  great  they  seemed 
To  me,  than  those  which  in  my  fair  Saint  John, 
Are  for  the  stand  of  the  baptizers  made; 
And  one  of  which,  not  many  years  ago, 
20  I  broke,  to  save  one  who  was  stifling  there : 
And  let  this  be  a  warrant,  every  man 
To  undeceive.    Forth  from  the  mouth  of  each 
A  sinner's  feet  protruded,  and  the  legs. 
Up  to  the  calf,  and  inside  was  the  rest. 
On  fire  were  both  the  soles  of  all  of  them; 

104 


INFERNO  XIX  105 

Wherefore  the  joints  so  violently  twitched, 

That  twisted  withes  or  ropes  they  would  have  snapped. 

Just  as  the  flaming  of  oiled  things  is  wont 

To  play  upon  the  outer  surface  only, 
30  So  was  it  here  from  heels  to  toes.    I  said: 

"My  Master,  who  is  that  who  is  enraged 

More  than  the  others  who  consort  with  him,. 

And  whom  a  redder  flame  is  sucking?"    He 

Replied  to  me :  "  If  thou  desirest  me 

Down  there  to  take  thee  by  that  lower  bank, 

Thou  of  himself  and  of  his  wrongs  shalt  learn 

From  him."    And  I:  "Whatever  pleases  thee 

To  me  is  pleasing:  thou  art  lord,  and  know'st 

That  I  depart  not  from  thy  will;  and  thou 
40  Knowest  beside  that  which  is  left  unsaid." 

We  came  upon  the  fourth  embankment  then; 

We  turned,  and  to  the  bottom,  pierced  with  holes 

And  narrow,  we  went  down  upon  the  left. 

And  the  good  Master  did  not  set  me  down 

As  yet  from  off  his  haunch,  until  he  brought  me 

Down  to  the  cleft  of  him  who  with  his  shanks 

Was  thus  lamenting.    I  began  to  speak: 

"0  whosoe'er  thou  art  who,  upside  down, 

Implanted  like  a  stake,  unhappy  soul, 
60  Dost  hold  thyself,  if  thou  art  able,  speak." 

I  there  was  standing,  like  a  friar  that  shrives 

The  treacherous  assassin,  who,  when  fixed 

For  execution,  calls  him  back  again. 

Because  he  thus  his  death  delays :  and  he 

Cried  out:  "Art  thou  already  standing  there, 

0  Boniface?    Already  standing  there? 

By  several  years  the  writing  lied  to  me. 

Art  thou  so  quickly  sated  with  that  wealth 

For  which  thou  didst  not  fear  to  carry  off 


106  THE  DIVINE  COMEDY 

60  By  fraud  the  lady  fair,  and  afterward, 
To  do  her  outrage?"    I  became  as  those 
Who  are  as  if  bemocked,  because  they  fail 
To  understand  what  is  repUed  to  them, 
And  know  not  how  to  answer.    Vergil  then 
Said:  "Tell  him  instantly:  'I  am  not  he, 
I  am  not  he  thou  thinkest:' "  I  replied 
As  I  was  bidden.    Whereupon  his  feet 
The  spirit  writhed  all  over:  then  to  me, 
Sighing,  he  said,  and  with  a  tearful  voice: 

70  "What  dost  thou  ask  of  me?    If  to  know  who 
I  am,  so  much  concerns  thee  that  for  this 
Thou  hast  come  down  the  bank,  know  thou  that  I 
Was  robed  with  the  great  mantle,  and  I  was. 
In  very  truth,  a  son  of  the  She-Bear, 
So  eager  to  advance  the  whelps,  that  wealth. 
Above,  I  pocketed,  and  here  myself. 
Beneath  my  head  the  others  are  dragged  down, 
Flattened  within  the  fissures  of  the  rock, 
Who  have  preceded  me  in  simony. 

80  I  there  in  turn  will  fall,  when  he  shall  come 
For  whom,  when  I  the  sudden  question  put, 
I  took  thee.    But  already  is  the  time 
That  I  have  baked  my  feet,  and  thus  have  been 
Head  downward,— longer  than,  with  reddened  feet, 
He  shall  be  fixed:  for  after  him  shall  come 
A  lawless  shepherd,  from  the  west,  in  deed 
More  foul,  such  as  is  meet  should  cover  up 
Both  him  and  me.    New  Jason  shall  he  be, 
Concerning  whom  we  read  in  Maccabees: 

90  And  as  his  king  indulgent  was  to  him. 
So  to  this  one  he  who  in  France  doth  rule 
Shall  be."    I  know  not  if  I  was  too  dull. 
That  only  in  this  strain  I  answered  him: 


INFERNO  XIX  107 

"Now  tell  me  pray  how  much  the  treasure  was 

Which  of  Saint  Peter  did  our  Lord  demand, 

Before  he  in  his  keeping  placed  the  keys? 

Surely  he  nothing  asked  but,  'Follow  me/ 

Nor  of  Matthias,  Peter  or  the  rest 

Took  gold  or  silver,  when  he  for  the  place 
100  Was  chosen  which  the  guilty  soul  had  lost. 

Therefore  stay  here!  for  thou  dost  well  deserve 

Thy  punishment;  and  see  thou  carefully 

Keep  the  ill-gotten  money  which  inspired 

Thy  boldness  against  Charles.    And  were  it  not 

-jthat still Jorbidsme reveLence  for  the  keys 

Supreme^ jvhich  thou  in  the  glad  life  didst  hold, 

I  would  use  still  severer  words;  because 

Your  avarice  afflicts  the  world,  the  good 

Down  trampling,  and  the  wicked  lifting  up. 
110  The  Evangelist  descried  you  shepherds,  when 

She  who  upon  the  waters  sits,  by  him 

Was  seen  with  kings  to  play  the  harlot:  she 

Who  with  the  seven  heads  was  born,  and  had 

From  the  ten  horns  her  warrant,  for  so  long 

As  virtue  pleased  her  spouse.    A  god  of  gold 

And  silver  ye  have  made  you:  and  what  is 

The  difference  'twixt  idolaters  and  you. 

Save  that  they  worship  one,  and  you  five-score? 

Ah  Constantino,  to  how  much  ill  gave  birth, 
120  Not  thy  conversion,  but  the  wedding-gift 

Which  from  thy  hand  the  first  rich  Father  took!'* 

And  while  I  chanted  notes  like  these  to  him. 

Whether  by  wrath  or  conscience  he  was  stung, 

With  both  his  feet  he  furiously  kicked. 

I  truly  think  my  Guide  was  gratified: 

For  all  the  while,  with  such  contented  face, 

He  to  the  sound  of  the  true  words  I  spake 


108  THE  DIVINE  COMEDY 

Attended.    Therefore,  he,  with  both  his  arms, 
Took  me,  and  when  he  had  me  on  his  breast 
130  Completely,  by  the  path  where  he  came  down, 
Remounted;  nor  because  he  had  me  pressed 
To  him  so  closely,  did  he  tire,  until 
He  bore  me  to  the  summit  of  the  arch, 
Which  from  the  fourth  embankment  to  the  fifth 
Affords  a  passage.    Here  he  gently  set 
The  burden  down;  gently,  because  the  crag 
Was  steep  and  rugged;  for  it  would  have  been 
A  passage  difficult  for  goats.    From  here 
Another  valley  was  disclosed  to  me. 


CANTO  XX 

The  fourth  Bolgia,  in  which  the  Necromancers  are  punished. 
Tiresias  and  his  daughter  Manto.  Vergil  relates  the  legend 
of  the  foundation  of  Mantuxi.  Eurypylus,  Michael  Scott,  and 
others  are  pointed  out. 

'Tis  fitting  that  about  new  punishment 

I  verses  make,  and  for  the  twentieth  strain 

Of  the  first  cantica,  which  treats  of  those 

Immersed  in  Hell,  provide  material. 

I  was  completely  in  position  now 

To  look  into  the  depth  disclosed,  which  was 

With  tears  of  anguish  bathed:  and  I  beheld 

Through  the  round  valley  people  coming  on, 

With  weeping  and  in  silence,  at  the  pace 
10  Which  in  the  world  the  prayer-processions  take. 

As  lower  down  my  sight  among  them  ranged, 

Each  one  appeared  distorted  wondrously, 

Between  the  chin  and  where  the  chest  began: 

For  back  toward  the  loins  the  face  was  turned. 

And  backward  they  must  needs  advance,  because 

They  were  deprived  of  power  to  look  before. 

Perhaps,  by  force  of  palsy,  one,  ere  now. 

Has  right  about  been  twisted  thus,  but  I 

Have  never  seen  it,  and  do  not  believe 
20  That  so  it  is.    As  God  may  let  thee  pluck, 

0  reader,  fruit  from  what  thou  readest  here, 

Now  for  thyself  imagine  how  I  could 

Keep  dry  my  face,  when  close  at  hand  I  saw 

Our  image  so  contorted,  that  the  tears. 

As  from  their  eyes  they  flowed,  the  hinder  parts 

Did  bathe  along  the  cleft.    In  truth  I  wept, 

109 


110  THE  DIVINE  COMEDY 

Against  a  fragment  of  the  stubborn  crag 
Leaning,  so  that  my  Escort  said  to  me: 
"Art  thou  still  numbered  with  the  other  fools? 

30  Here  piety  doth  live  when  wholly  dead 
Is  pity.    Who  more  impious  is  than  he 
Who  on  God's  judgment  passion  brings  to  bear? 
Lift,  Uft  thy  head,  and  see  that  one  for  whom 
Opened  the  earth  before  the  Thebans'  eyes, 
Whereat  all  shouted:  ^Whither  in  such  haste, 
Amphiaraus?    Wherefore  leavest  thou 
The  war? '    And  he  ceased  not  from  falling  down. 
Far  as  to  Minos,  who  on  every  one 
Lays  hold.    Behold  how  of  his  shoulders  he 

40  Has  made  a  breast:  because  he  wished  to  see 
Too  far  in  front  of  him,  he  looks  behind. 
And  goes  a  backward  road.    Tiresias  see. 
Who  semblance  changed  when  he  from  male  became 
Female,  when  all  his  members  were  transformed; 
And  afterward  he  needs  must  strike  again 
The  two  entwisted  serpents  with  his  rod, 
Before  he  could  regain  his  manly  plumes. 
He  who  to  this  one's  belly  turns  his  back, 
Aruns  is,  who,  on  Luni's  hills,  where  grubs 

50  The  Carrarese  who  dwells  below,  the  cave 
Had  for  his  dwelling  mid  the  marbles  white. 
Whence,  for  the  survey  of  the  stars  and  sea, 
His  view  was  not  cut  off.    And  that  one  there. 
Who  covers  with  her  loosened  locks  her  breasts 
Unseen  by  thee,  and  all  the  hairy  skin     ' 
Has  on  that  side,  is  Manto,  who  made  search 
Through  many  lands,  and  after,  settled  there 
Where  I  was  born;  whereof  it  pleases  me 
That  thou  a  httle  hear  me.    When  her  sire 

60  Had  passed  from  life,  and  into  servitude 


INFERNO  XX  111 

Had  fallen  Bacchus's  city,  long  she  roamed 

Over  the  world.    Up  in  fair  Italy 

There  lies  a  lake,  Benaco  is  its  name, 

Washing  the  bases  of  the  Alps  which  bound 

The  land  of  Germany  above  Tyrol. 

I  think  that  through  a  thousand  founts  and  more, 

Pennino,  by  the  streams  which  settle  down 

In  the  aforesaid  lake,  is  bathed  between 

Garda  and  Val  Camonica.    There  is 
70  A  place  there,  midway,  where,  if  he  should  pass 

That  way,  the  Trentine  Pastor,  and  Verona's, 

And  Brescia's  might  dispense  the  holy  sign. 

Peschiera,  goodly  garrison  and  strong 

To  front  the  Brescians  and  the  Bergamasques, 

Sits  where  falls  lowest  the  surrounding  shore. 

There  it  must  needs  that  all  that  cannot  stay 

Within  Benaco's  lap,  together  fall. 

And  it  becomes  a  river,  as  it  flows 

Down  through  green  pastures.    Soon  as  starts  to  flow 
80  The  water,  Mincio  it  is  called;  no  more 

Benaco,  far  as  to  Governo,  where 

It  falls  into  the  Po.    Not  far  it  runs. 

Before  it  finds  a  plain,  on  which  it  spreads, 

And  turns  it  to  a  marsh;  and  now  and  then. 

In  Summer  it  is  wont  to  be  unwholesome. 

Passing  that  way,  the  cruel  virgin  saw 

Land  in  the  middle  of  the  fen,  untilled. 

And  uninhabited.    There,  to  avoid 

All  human  fellowship,  she  with  her  slaves 
90  Abode,  to  ply  her  arts,  and  lived,  and  there 

She  left  her  body  vacant.    Afterward, 

The  men  who  round  were  scattered  gathered  them 

Together  to  that  place,  for  it  was  strong, 

By  reason  of  the  fen  which  on  all  sides 


112  THE  DIVINE  COMEDY 

It  had.    Above  those  lifeless  bones  they  built 
Their  city;  and  for  her  who  first  did  choose 
The  place,  without  another  augiu-y, 
They  called  it  Mantua.    Within  it  once 
Its  folk  were  thicker,  ere  the  foolishness 

100  Of  Casalodi  had  experienced  fraud 

From  Pinamonte.    Hence  I  caution  thee 

That  if  thou  ever  hear  that  otherwise 

My  city  had  its  origin,  thou  let 

No  lie  pervert  the  truth."    And  I  replied: 

"Master,  thy  expositions  are  to  me 

So  certain,  and  so  on  my  faith  lay  hold. 

That  like  spent  coals  would  seem  what  others  say. 

But  tell  me  of  the  people  going  past. 

If  thou  beholdest  any  one  of  them 

110  Worthy  of  note;  because  my  mind  reverts 
To  that  alone."    Then  he  rephed  to  me: 
"An  augur  that  one  was  who  from  his  cheek 
O'er  his  swart  shoulders  pushes  forth  his  beard, 
What  time  Greece  was  so  destitute  of  males. 
That  scarcely  for  the  cradles  they  remained; 
And  he  with  Calchas  named  the  moment  when 
In  Aulis  the  first  cable  should  be  cut. 
He  bore  the  name  Eurypylus,  and  thus 
About  him,  in  a  certain  passage,  sings 

120  My  lofty  tragedy:  thou  knowest  that 

Full  well,  for  thou  dost  know  the  whole  of  it. 
That  other  one,  so  slender  in  the  flanks. 
Was  Michael  Scott,  who  knew,  in  truth,  the  game 
Of  magic  cheats.    Guido  Bonatti  see; 
Behold  Asdente,  he  who  now  would  wish 
That  to  his  leather  and  his  thread  he  had 
Given  attention,  but  repents  too  late. 
Behold  the  wretched  women  who  forsook 


INFERNO  XX  113 

Needle,  and  spool,  and  spindle,  and  became 
130  Diviners;  they,  with  herbs  and  effigy. 

Enchantments  wrought.    But  now  come  on,  because 
Cain  and  the  thorns  already  holds  the  bound 
Of  both  the  hemispheres,  and  in  the  wave 
Beyond  Seville  is  dipping,  and  the  moon 
Was  round  already  on  the  yesternight. 
And  thou  shouldst  well  remember  it,  because 
No  harm  she  did  thee  at  a  certain  time, 
Within  the  forest  deep."    Thus  did  he  speak 
To  me,  and  on  our  way  we  went  the  while. 


CANTO  XXI 

They  pass  to  the  highest  point  of  the  bridge  over  the  fifth  Bolgia, 
where  are  the  Barrators,  immersed  in  a  lake  of  boiling  pitch. 
A  black  devil  is  seen  coming  over  the  bridge  with  a  sinner  on 
his  shoulders,  whom  he  throws  into  the  pitch.  Vergil  appeases 
the  fiends  who  emerge  from  under  the  bridge  and  threaten  him, 
and  who  finally  furnish  the  two  poets  with  an  escort. 

Thus  on  from  bridge  to  bridge,  with  other  talk, 

Whereof  my  Comedy  cares  not  to  sing, 

We  went,  and  held  the  summit,  when  we  paused 

To  see  another  cleft  of  Malebolge, 

And  hear  the  vain  laments  which  followed  next; 

And  I  perceived  that  it  was  wondrous  dark. 

As,  in  the  winter,  in  the  arsenal 

Of  the  Venetians,  boils  the  sticky  pitch, 

To  pay  their  crazy  craft  again,  because 
10  They  cannot  sail,  and  one,  instead  of  that, 

Rebuilds  his  ship,  another  one  recaulks 

The  sides  of  that  which  many  a  cruise  has  made; 

One  hammers  at  the  bow,  and  one  astern; 

And  one  makes  oars,  another  cordage  twists; 

One  patches  up  the  main-  and  mizzen-sail: 

So,  not  by  fire,  but  by  the  craft  divine, 

Down  there  was  boiling  a  thick  pitch,  which  limed 

The  bank  on  every  side.    This  I  perceived, 

But  in  it  nothing  but  the  bubbles  saw 
20  Raised  by  the  boiling,  while  the  whole  swelled  up. 

And  settled  down  again  compressed.    While  I, 

With  gaze  intent,  was  looking  down  on  this, 

My  Leader  said:  "Look!  look!"  and  from  the  place 

Where  I  was  standing,  drew  me  to  himself. 

114 


INFERNO  XXI  115 

At  that  I  turned  me,  as  a  man  in  baste 

To  get  a  sight  of  what  he  ought  to  flee, 

And  whom  a  sudden  fear  unnerves;  and  he, 

For  looking,  does  not  stay  his  going  off: 

And  a  black  devil  I  behind  us  saw 
30  Come  running  up  along  the  crag.    Alas, 

How  savage  was  his  aspect!    In  his  mien 

How  cruel  he  appeared  to  me,  with  wings 

Outspread,  and  light  of  foot!    His  shoulder,  high 

And  sharp,  a  sinner  with  his  haunches  both 

Encumbered,  and  the  sinew  of  the  feet 

He  held  fast  clutched.    "0  Malebranche,  here 

Is  one  of  Santa  Zita's  elders!"  he 

From  off  our  bridge  exclaimed.    "Under  with  him! 

For  I  for  others  still  am  going  back 
40  To  yonder  city  which  I  have  well  stocked 

With  them:  for  every  one  within  it  is 

A  barrator,  except  Bonturo :  there. 

By  means  of  money,  'yes'  is  made  of  *no.'  " 

Down  there  he  flung  him,  and  he  backward  turned 

Along  the  flinty  crag,  and  mastiff  loosed 

Was  never  in  such  haste  to  chase  the  thief. 

The  other  plunged  beneath,  and,  doubled  up, 

Rose  to  the  surface;  but  the  fiends  who  were 

Under  the  cover  of  the  bridge,  cried  out: 
60  "The  holy  countenance  has  here  no  place; 

Swimming  is  practised  here  in  other  wise 

Than  in  the  Serchio;  therefore,  if  our  hooks 

Thou  wouldst  not  feel,  do  not  uplift  thyself 

Above  the  pitch."    Then  with  a  hundred  prongs 

And  more  they  gripped  him.    "Under  cover  here," 

They  said,  "thou  needs  must  dance,  so  that  thou  mayst 

In  secret  do  thy  pilfering,  if  thou  canst." 

Not  otherwise  the  cooks  their  scullions  make 


116  THE  DIVINE  COMEDY 

Midway  into  the  cauldron,  with  their  hooks, 

60  Push  down  the  meat,  so  that  it  may  not  float. 
Said  the  good  Master:  "That  it  be  not  seen 
That  thou  art  here,  squat  down  behind  a  jag. 
Which  may  some  screen  afford  thee;  nor  be  thou 
Afraid,  whatever  outrage  may  be  done 
To  me,  for  I  have  knowledge  of  these  things, 
Since  once  before  I  was  in  such  a  fray." 
Then  he  passed  on  beyond  the  bridge's  head. 
And  there  was  need  that  he  a  fearless  front 
Should  wear,  when  he  arrived  on  the  sixth  bank. 

70  With  rage  and  clamor  such  as  when  the  dogs 
Rush  out  on  a  poor  man,  who,  where  he  stops, 
Forthwith  begins  to  beg,  they  issued  forth 
From  underneath  the  bridge,  and  all  their  gaffs 
Turned  against  him;  but  loudly  he  called  out: 
"Let  none  of  you  be  vicious.    Ere  your  hooks 
Lay  hold  of  me,  come  forward,  one  of  you. 
To  hear  me,  and  take  counsel  afterward 
About  your  grappling  me."    They  shouted  all: 
"Let  Malacoda  go;"  whereat  one  moved, 

80  While  quiet  were  the  rest,  and  came  to  him. 

Saying:  "How  does  it  help  him?"    "Dost  thou  think 

Thou  seest  me,  Malacoda,- hither  come. 

Safe  hitherto  from  all  your  hindrances," 

My  Master  said,  "without  divine  behest, 

And  fate  propitious?    Let  me  go  my  way, 

For  it  is  willed  in  Heaven  that  I  show 

Another  this  mid  road."    His  arrogance 

Was  then  so  bated  that  he  let  his  hook 

Drop  at  his  feet,  and  to  the  others  said: 

90  "Now  let  him  not  be  struck."  And  said  to  me 
My  Guide:  "0  thou  who  midst  the  bridge's  jags 
All  squatted  down  art  sitting,  now  return 


INFERNO  XXI  117 

Safely  to  me."    Whereat  I  moved,  and  came 

With  haste  to  him;  and  all  the  devils  pressed 

Toward  the  front,  so  that  I  was  afraid 

They  would  not  keep  their  pact.    And  thus  I  saw, 

Once  on  a  time,  the  infantry  afraid. 

Who  under  treaty  from  Caprona  marched, 

Seeing  themselves  among  so  many  foes. 
1 00  Close  to  my  Leader's  side,  with  all  my  frame, 

I  drew,  and  from  their  look,  which  was  not  good. 

Turned  not  my  eyes.    They  downward  turned  their  gaffs, 

One  to  the  other  saying:  "Wouldst  thou  like 

To  have  me  touch  him  on  the  rump?"    And  they 

Were  answering:  "Aye!    See  that  thou  give  it  him." 

But  in  an  instant  turned  himself  about 

That  demon  who  was  talking  with  my  Guide, 

And  said:  "Be  quiet,  quiet,  Scarmiglione!" 

Then  said  to  us:  "Farther  along  this  crag 
110  It  is  not  possible  to  go,  because 

All  broken  into  pieces  the  sixth  arch 

Is  at  the  bottom  lying:  and  if  still 

It  please  you  to  go  farther,  hold  your  way 

Along  this  ridge;  there  is  another  crag 

Close  by,  which  forms  a  passage.    Yesterday, 

Five  hours  after  the  present  hour,  made  up 

Tv/elve  hundred  threescore  and  six  years,  since  here 

The  way  was  broken.    I  am  going  to  send 

Some  of  this  gang  of  mine  that  way,  to  see 
120  If  any  puts  himself  outside  to  air: 

Go  on  with  them,  for  they  will  not  be  wicked. 

Step  forward,  Alichino,"  he  began, 

*'And  Calcabrina,  and  Cagnazzo  thou; 

And  Barbariccia, — let  him  lead  the  ten. 

Let  Libicocco  also  come  along. 

And  Draghinazzo,  and  tusked  Ciriatto; 


118  THE  DIVINE  COMEDY 

GraflSacane,  Farfarello  too, 

And  furious  Rubicante.    Search  about 

The  boiling  birdlime :  far  as  the  next  crag, 

130  Which  all  unbroken  goes  across  the  dens, 

Let  these  be  safe."    "Ah  me!  my  Master,  what," 
Said  I,  "is  that  I  see?    Pray  let  us  go 
Alone,  without  an  escort,  if  the  way 
Thou  know'st,  for  for  myself  I  crave  it  not. 
If  thou  as  wary  art  as  is  thy  wont. 
Dost  thou  not  see  how  they  do  grind  their  teeth, 
And  threaten  mischief  to  us  with  their  brows?" 
And  he  to  me:  "I  would  not  have  thee  fear: 
Let  them  grind  on,  e'en  to  their  hearts'  content, 

140  For  at  the  wretched  stews  they  do  it."    They 
WTieeled  by  the  left  embankment;  but  at  first, 
Each  of  them  with  his  teeth  his  tongue  had  pressed, 
By  way  of  signal  toward  their  guide,  and  he 
Had  made  a  trumpet  of  his  hinder  part. 


CANTO  XXII 

Dante  comments  upon  the  unique  signal  for  the  advance  of  the 
party.  A  barrator  emerges  from  the  pitch,  and  is  caught  and 
dragged  up  by  one  of  the  fiends.  He  informs  Vergil  who  he  is, 
and  who  are  some  of  his  companions.  The  fiends  offer  him 
a  chance  to  dive  back  into  the  pitch.  By  a  sudden  leap  he  escapes 
their  hooks.  Angry  at  their  disappointment,  two  of  the  devils 
grapple  each  other  on  the  wing,  and  fall  together  into  the  pitch, 
from  which  they  are  extricated  by  their  fellows. 

I  have,  ere  now,  seen  horsemen  shift  their  camp, 

And  the  attack  commence,  and  their  array 

Draw  up,  and  sometimes,  for  their  safety's  sake, 

Retire:  I  have  seen  scouts,  0  Aretines, 

Scouring  your  land,  and  bands  of  foragers 

Seen  moving,  tourneys  fought,  and  tiltings  run. 

With  trumpets  now,  and  now  with  bells,  with  drums, 

And  castle-signals,  and  with  native  things 

And  foreign;  but  I  never  with  a  pipe 
10  So  strange  saw  cavalry  or  footmen  move, 

Or  vessel,  at  a  signal  from  the  land 

Or  sight  of  star.    With  the  ten  demons  we 

Were  going  on:  ah,  savage  company! 

But,  with  the  saints  at  church,  and  with  the  rakes 

At  tavern.    On  the  pitch  alone  my  looks 

Were  fixed,  to  see  each  feature  of  the  pit, 

And  of  the  people  burning  there  within. 

As  dolphins,  when,  with  arching  of  their  back,- 

They  make  a  sign  to  sailors  to  give  heed 
20  To  save  their  vessel,  so,  from  time  to  time. 

To  ease  his  pain  some  sinner  showed  his  back, 

And  hid  it  quicker  than  a  lightning-flash. 

119 


120  THE  DIVINE  COMEDY 

And  as  the  frogs,  with  only  muzzles  out, 
Stand  on  the  edge  of  water  of  a  ditch. 
With  feet  and  all  their  other  bulk  concealed, 
So  were  the  sinners  upon  every  side: 
But  soon  as  Barbariccia  near  them  came, 
Beneath  the  boihng  they  withdrew.    I  saw, 
And  still  at  this  a  shudder  thrills  my  heart, 

30  One  lingering  in  such  wise  as  happens  when 
One  frog  remains,  and  off  the  other  leaps. 
And  Graffiacane  who  more  nearly  was 
Over  against  him,  hooked  his  pitch-smeared  locks, 
And  hauled  him  up,  so  that  he  seemed  to  me 
An  otter.    I,  by  this  time,  knew  the  name 
Of  each  and  every  one,  I  marked  them  so. 
When  they  were  chosen;  and  when  they  addressed 
Each  other,  listened  how.    "See  that  thou  set 
Thy  claws,  0  Rubicante,  on  his  back 

40  So  that  thou  flay  him!"  all  the  cursed  crew 
Together  yelled.    And  I:  "If  possible. 
Contrive,  my  Master,  to  find  out  who  is 
The  ill-starred  one  who  into  his  foes'  hands 
Has  come."    Close  to  his  side  my  Leader  drew, 
And  asked  him  whence  he  was,  and  he  repUed: 
"I  was  bom  in  the  kingdom  of  Navarre. 
My  mother  placed  me  servant  to  a  lord. 
For  she  had  borne  me  to  a  knave,  who  had 
Made  way  with  both  his  substance  and  himself. 

50  Thereafter,  of  the  good  king  Theobald 
I  was  a  household  servant;  there  I  set 
Myself  to  practise  barratry,  for  which 
Here  in  this  heat  I  render  reckoning:" 
And  Ciriatto,  from  whose  mouth  a  tusk 
On  either  side  protruded,  like  a  boar's. 
Made  him  to  feel  how  one  of  these  did  rip. 


INFERNO  XXII  121 

Among  malicious  cats  the  mouse  had  come; 

But  Barbariccia  clasped  him  in  his  arms, 

And  said:  "While  I  am  hugging  him,  keep  off!" 
60  And  he  toward  my  Master  turned  his  face : 

And  "Ask,"  he  said,  "if  thou  dost  wish  to  learn 

Some  more  from  him,  before  some  other  one 

Shall  mangle  him."    My  Leader  then:  "Now  tell 

About  the  other  sinners:  dost  thou  know 

Any  one  underneath  the  pitch  who  is 

Italian?"    And  he  said:  "Not  long  ago, 

From  one  I  parted  who  was,  over  there, 

A  neighbor.    Would  I  still  were  covered  thus 

With  him,  for  claw  or  hook  I  should  not  fear." 
70  And  Libicocco  said:  "We  have  endured 

Too  much" :  and  with  the  hook  he  seized  his  arm, 

So  that  of  this  he,  rending,  carried  off 

A  sinew.    Draghinazzo  too  desired 

Down  on  the  legs  to  gripe  him;  whereupon, 

With  lowering  aspect,  their  decurion 

Turned  himself  round  and  round.    When  they  somewhat 

Were  pacified,  my  Guide,  without  delay, 

Of  him  who  still  was  gazing  at  his  wound 

Asked:  "Who  was  that  from  whom,  in  evil  hour 
80  Thou  sayest,  thou  didst  part  to  come  to  shore?" 

And  he  replied:  "It  was  Friar  Gomita, 

He  of  Gallura,  vessel  of  all  fraud, 

Wlio  had  in  hand  his  master's  enemies. 

And  so  did  deal  with  them  that  each  affirmed 

Himself  content  therewith:  he  took  their  gold, 

And  without  process  let  them,  as  he  says, 

Slip  off:  and  in  his  other  offices 

Besides,  he  was  no  petty  barrator, 

But  was  a  prince.    Don  Michel  Zanche,  he 
90  Of  Logodoro,  companies  with  him: 


122  THE  DIVINE  COMEDY 

And  their  tongues  feel  no  weariness,  while  they 

Are  talking  of  Sardinia.    See,  ah  me! 

The  other  who  his  teeth  is  grinding!  more 

I  would  be  saying,  but  I  fear  that  he 

Is  making  ready  to  my  itch  to  give 

A  scratching."    And  the  grand  commandant  turned 

To  Farfarello,  who,  in  act  to  strike, 

Was  rolling  round  his  eyes,  and  said:  "Vile  bird. 

Stand  off  there! "    " If  ye  wish  to  see  or  hear, 

100  Tuscans  or  Lombards,"  then  began  again 

The  frightened  wretch,  "  I  will  cause  some  of  them 
To  come.    But  let  the  Malebranche  stand 
Aside  a  little,  that  these  may  not  fear 
Their  vengeful  acts;  and  I,  while  still  I  sit 
In  this  same  place,  for  one  that  I  am,  will 
Make  seven  of  them  come  when  I  shall  whistle. 
As  is  our  wont  to  do  whenever  one 
Comes  out."    Cagnazzo  lifted  at  such  words 
His  muzzle,  shook  his  head,  and  said:  "Just  hear 

110  The  cunning  trick  he  has  devised,  to  throw 
Himself  beneath!"    He  thereupon,  who  had 
A  wealth  of  stratagems,  replied:  "I  am 
Too  cunning,  when  I  for  my  friends  procure 
Greater  distress."    No  longer  Alichin 
Held  in,  but  gainsaying  the  others,  said 
To  him:  "I  will  not,  if  thou  throw  thee  down, 
Follow  thee  on  the  nm,  but  I  will  ply 
My  wings  above  the  pitch :  leave  we  the  ridge, 
And  be  the  bank  a  screen,  that  we  may  see 

120  If  thou  alone  dost  count  for  more  than  we." 
A  new  sport,  reader,  thou  shalt  hear!    Each  one 
Turned  toward  the  other  side  his  eyes;  he  first 
Who  had  been  most  reluctant  to  do  this. 
The  Navarrese  chose  well  his  time;  he  set 


INFERNO  XXII  123 

His  feet  upon  the  ground,  and  in  a  trice 

He  leaped,  and  freed  himself  from  their  design. 

Thereat  each  one  was  by  his  error  stung, 

But  most  he  who  was  cause  of  the  default; 

Wherefore  he  started,  crying:  "Thou  art  caught!" 
130  But  little  it  availed  him,  for  the  wings 

Could  not  outstrip  the  terror:  under  went 

The  one,  and  upward,  as  he  flew,  his  breast 

The  other  turned:  not  otherwise  the  duck 

Dives  down  upon  a  sudden,  when  the  hawk 

Approaches,  and  he  upward  comes  again. 

Angry  and  baffled.    At  the  jest  enraged. 

Flying,  behind  him  Calcabrina  kept. 

Desirous  that  the  other  should  escape, 

That  he  might  have  his  tussle.    And  the  instant 
140  The  barrator  was  out  of  sight,  he  turned 

His  claws  upon  his  mate,  and  was  with  him 

Above  the  trench  at  grapple.    But  indeed 

The  other  was  a  sparrowhawk  full  grown 

To  claw  him  well,  and  both  of  them  dropped  down 

Into  the  middle  of  the  boiling  pool. 

The  heat  unclutched  their  grapple  suddenly: 

But  yet  to  raise  themselves  there  was  no  way. 

In  such  a  fashion  were  their  wings  bedaubed. 

Doleful  with  the  remainder  of  his  troop, 
150  Four  of  them  Barbariccia  caused  to  fly 

Toward  the  other  side,  with  all  their  gaffs, 

And  very  quickly  they,  on  either  side. 

Descended  to  their  posts:  their  hooks  they  stretched 

Toward  those  belimed,  within  the  crusting  cooked 

Already:  and  we  left  them  thus  ensnarled. 


CANTO  XXIII 

The  poets  go  on  alone.  Dante  is  convinced  that  the  demons  will 
pursue  them,  and  communicates  his  fear  to  Vergil.  The  devils 
are  seen  coming.  Vergil  takes  Dante  in  his  arms,  and  slides 
down  the  embankment  into  the  sixth  trench,  where  the  Hypocrites 
are  punished.  Cataiano,  Loderingo,  Caiaphas.  They  reach 
the  next  bridge  and  find  this  also  broken,  and  perceive  that 
Malacoda  has  deceived  them. 

Silent,  alone,  and  unattended,  we, 

The  one  in  front,  the  other  following, 

Were  going  on  as  Minor  Friars  go 

Along  a  road.    My  thought  was,  by  the  brawl 

Present  just  now,  to  ^op's  fable  turned, 

In  which  he  spoke  about  the  frog  and  mouse: 

For  "now"  resembles  not  "this  instant"  more 

Than  does  the  one  the  other,  if  the  end 

And  the  beginning  be  correctly  linked, 
10  With  mind  attentive:  and  as  from  one  thought 

Another  bursts,  so  from  that  one  was  born 

Another  then,  which  doubled  my  first  fear. 

After  this  fashion  I  was  thinking:  "These 

Have,  by  our  means,  been  made  a  laughing-stock, 

With  hurt  and  gibing  such,  that  I  believe 

It  much  annoys  them.    If  to  their  ill-will 

Anger  is  added,  they  will  follow  us, 

More  cruel  than  the  hound  upon  that  hare 

On  which  he  seizes."    With  the  fear  I  felt 
20  My  hairs  already  standing  all  on  end. 

And  I  was  closely  on  our  rear  intent, 

When  I  said:  "Master,  if  thou  hidest  not, 

Quickly,  thyself  and  me,  I  am  afraid 

124 


INFERNO  XXIII  125 

Of  Malebranche :  they  are  after  us 

Already :  I  do  so  imagine  them, 

That  even  now  I  feel  them."    And  he  said: 

"Were  I  of  leaded  glass,  I  should  not  draw 

More  quickly  to  myself  thine  outward  form, 

Than  I  thine  inward  semblance  apprehend. 
30  Among  my  thoughts  thine  entered  but  just  now, 

AHke  in  act  and  look,  so  that  I  made 

Of  both  one  sole  resolve.    If  so  it  be 

That  on  our  right  the  slope  so  lies  that  we 

Can  into  the  next  pit  descend,  we  shall 

Escape  the  fancied  chase."    He  had  not  yet 

Finished  imparting  his  resolve,  when  I 

Beheld  them  coming  on,  with  wings  outstretched, 

Not  far  away,  with  will  to  seize  on  us. 

My  Leader  suddenly  laid  hold  on  me, 
40  As  does  a  mother,  by  the  noise  awaked, 

Who  near  to  her  beholds  the  kindled  flames. 

And  grasps  her  son  and  flies,  and  caring  more 

For  him  than  for  herself,  stays  not  so  long 

As  only  to  put  on  a  single  shift: 

And  downward  from  the  ridge  of  the  hard  bank, 

He  gave  him  to  the  sloping  rock  which  bars 

One  side  of  the  next  pit.    Ne'er  water  ran 

So  swiftly  through  a  sluice,  to  turn  the  wheel 

Of  a  land-mill  when  it  draws  near  the  paddles, 
50  As  o'er  that  rim  my  Master,  on  his  breast 

Bearing  me  off,  as  though  I  were  his  son. 

And  not  his  comrade.    Scarce  his  feet  had  reached 

The  bottom  of  the  depth  below,  when  they 

Were  on  the  ridge  right  over  us:  but  there 

There  was  no  fear;  for  the  high  Providence 

Whose  will  it  is  to  make  them  ministers 

Of  the  fifth  trench,  deprives  them  all  of  power 


126  THE  DIVINE  COMEDY 

To  go  away  from  it.    Down  there  we  found 

A  painted  people,  who  were  going  round  i 

60  With  steps  exceeding  slow,  and  shedding  tears. 
And  in  appearance  weary  and  subdued. 
Goaks,  with  the  hoods  low  down  before  their  eyes. 
They  wore,  of  cut  like  that  which,  in  Cologne, 
Is  fashioned  for  the  monks.    Outside  they  are 
So  gilded  that  it  dazzles;  but  within 
Are  all  of  lead,  and  are  so  ponderous. 
That  those  by  Frederick  put  on  were  straw. 
0  mantle  wearisome  forevermore! 
Still  ever  to  the  left  along  with  them 

70  We  turned,  intent  upon  their  sad  lament: 
But  that  tired  folk,  by  reason  of  the  weight. 
Came  on  so  slowly  that  our  company 
Was  new  at  every  movement  of  the  hip. 
Wherefore  I  to  my  Guide:  "See  that  thou  find 
Some  one  who  may  be  known  by  deed  or  name, 
And  while  we  thus  are  walking,  move  about 
Thine  eyes."    And  one  who  heard  the  Tuscan  speech, 
Cried  after  us:  "Ye  who  at  such  a  pace 
Are  speeding  through  the  murky  air,  restrain 

80  Your  feet:  perhaps  thou  wilt  obtain  from  me 
That  which  thou  seekest."    Whereupon  the  Guide 
Turned,  saying:  "Wait,  and  afterward  proceed 
According  to  his  pace."    I  stopped,  and  saw. 
Two,  showing  in  their  look  great  haste  of  mind 
To  be  with  me;  but  them  their  burden  stayed, 
And  the  thronged  road.    After  they  had  come  up. 
For  a  long  time,  with  eye  askant,  they  looked 
At  me,  and  uttered  not  single  word: 
Then,  turning  to  each  other,  they  remarked, 

90  Between  them:  "By  the  movement  of  his  throat, 
This  one  seems  living:  and  if  they  are  dead. 


INFERNO  XXIII  127 

By  what  exemption,  with  the  heavy  stole 

Uncovered,  do  they  go?"    Then  they  to  me: 

"0  Tuscan,  who  art  to  the  college  come 

Of  the  sad  hypocrites,  do  not  disdain 

To  tell  us  who  thou  art."    And  I  to  them: 

"In  the  great  city  on  the  lovely  stream 

Of  Arno  I  was  born  and  reared,  and  still 

Am  in  the  body  I  have  always  had. 
100  But  who  are  ye  from  whom,  as  I  behold, 

Down  o'er  your  cheeks  such  bitter  woe  distils? 

And  what  may  be  the  penalty  which  so 

Ghtters  upon  you?"    And  the  one  repHed 

To  me:  "The  orange  mantles  are  of  lead. 

So  thick,  that  in  such  wise  the  weights  do  cause 

The  scales  to  creak:  and  we  were  Jolly  Friars, 

And  Bolognese,  I  Catalano  named. 

And  Loderingo  he,  and  jointly  we 

Were  chosen  by  thy  city  to  preserve 
110  Its  peace,  as,  commonly,  one  man  alone 

Is  taken;  and  of  such  a  sort  we  were. 

As  still  round  the  Gardingo  may  be  seen." 

"0  friars,"  I  began,  "your  evil  deeds" — 

But  said  no  more:  for  on  my  sight  there  rushed 

One  on  the  ground  with  three  stakes  crucified. 

When  he  beheld  me,  he  all  over  writhed. 

Blowing  the  while  with  sighs  into  his  beard: 

And  Friar  Catalan,  who  noted  this. 

Said  to  me:  "That  transfixed  one  upon  whom 
120  Thou  gazest,  did  advise  the  Pharisees 

That  for  the  people  'twas  expedient 

To  put  one  man  to  torture.    As  thou  seest, 

He  is  crosswise  and  naked  on  the  path. 

And  whosoever  passes,  he  must  needs 

First  feel  how  much  he  weighs :  and  in  this  trench, 


128  THE  DIVINE  COMEDY 

In  fashion  similar,  his  father-in-law 
Is  stretched  at  length,  together  with  the  rest 
Of  that  assembly  which  was  for  the  Jews 
A  seed  of  evil."    I  saw  Vergil  then 

130  Marvelling  over  him  so  vilely  stretched, 
Cross-fashion,  in  the  endless  banishment. 
Then  to  the  friar  he  addressed  these  words: 
"Let  it  not  irk  you,  if  you  be  allowed. 
To  tell  us  if  there  lies,  on  the  right  hand. 
Some  passage  by  which  both  of  us  may  make 
Our  exit  hence,  without  our  making  some 
Of  the  black  angels  come,  and  from  this  deep 
Get  us  away."    "Nearer,"  he  answered  then, 
"Than  thou  art  hoping,  is  a  rock  that  starts 

140  From  the  great  circle,  and  the  cruel  pits. 
All  of  them,  bridges,  saving  that  at  this 
'Tis  broken  down,  and  does  not  cover  it: 
But  'twill  be  possible  for  you  to  mount 
Upon  its  ruin,  for  upon  the  side 
It  slopes,  and  on  the  bottom  forms  a  rise." 
My  Guide  a  moment  stood  with  head  bent  down. 
Then  said:  "That  one  who  hooks  the  sinners  yonder, 
Did  give  a  bad  account  about  the  case." 
And  said  the  friar:  "At  Bologna,  once, 

150  I  of  the  Devil's  vices  used  to  hear 

Right  many  told,  among  the  which  I  heard 

That  he  a  liar  is,  and  of  a  He 

The  father."    Then  the  Leader,  with  long  strides, 

Moved  on,  a  little  troubled  in  his  look 

With  anger;  whence  I  left  the  laden  ones. 

Following  the  prints  of  those  beloved  feet. 


CANTO  XXIV 

Dante  is  disturbed  by  the  anger  expressed  in  VergiVs  face.  Vergil 
relieves  him.  On  their  arrival  at  the  broken  bridge  Vergil 
assists  Dante  to  mount,  and  urges  him  forward.  They  reach 
the  seventh  trench,  where  thieves  are  tormented  by  serpents. 
Vanni  Fucci  is  bitten  and  burned  to  ashes,  and  then  resumes 
his  human  form.  He  prophesies  to  Dante  the  evils  to  be  suf- 
fered by  the  Whites. 

In  that  part  of  the  youthful  year  wherein 

The  sun  invigorates  his  locks  beneath 

Aquarius,  and  now  the  nights  withdraw 

Toward  the  south:  when  on  the  ground  the  rime 

Copies  the  image  of  her  sister  white, 

But  not  for  long  the  temper  of  her  pen 

Endures, — the  coimtryman  whose  forage  fails, 

Rises,  and  looks,  and  sees  the  land  all  blanched, 

Whereat  he  slaps  his  thigh,  returns  indoors, 
10  And  here  and  there  goes  whining,  like  the  wretch 

Who  knows  not  what  to  do;  then  back  he  comes, 

And  hope  regains,  perceiving  how  the  world 

Has  changed  its  aspect  in  a  little  time. 

And  takes  his  crook,  and  forth  to  pasture  drives 

His  sheep:— so  did  my  Master  make  me  fear, 

When  on  his  brow  such  trouble  I  beheld. 

And  to  my  hurt  thus  speedily  there  came 

The  plaster:  for  when  to  the  ruined  bridge 

We  came,  the  Leader  turned  him  round  to  me, 
20  With  that- sweet  look  which,  at  the  mountain's  foot, 

I  first  beheld.    When  he  within  himself 

Had  fixed  upon  some  plan,  first  scanning  well 

The  ruin,  opening  his  arms,  he  laid 

His  grasp  upon  me.    And  as  one  who  works 

129 


130  THE  DIVINE  CXDMEDY 

And  reckons,  for  he  always  seems  to  be 
Providing  in  advance,  so,  while  toward 
The  top  of  one  great  rock  he  Hfted  me. 
He  had  his  eye  upon  another  crag, 
Saying:  "Take  hold  of  that  one  next;  but  first 

30  Try  if  to  bear  thee  it  is  strong  enough." 
*Twas  not  a  road  for  one  who  wore  a  cloak, 
For  hardly  could  we  mount  from  jag  to  jag, 
He  Ught,  and  I  pushed  on.    And  if  the  slope 
Toward  that  precinct  had  not  been  more  short 
Than  toward  the  other  one,  I  know  not  how 
It  might  have  fared  with  him,  but  I  had  been 
Utterly  overcome.    But  inasmuch 
As  toward  the  opening  of  the  lowest  well 
All  Malebolge  downward  slopes,  the  site 

40  Of  every  pit  implies  that  the  one  side 
Is  higher,  and  the  other  lower.    We, 
At  last,  however,  at  the  point  arrived 
Whence  the  last  stone  splits  off.    When  I  was  up. 
The  breath  was  from  my  lungs  so  milked  away. 
That  I  could  go  no  farther,  but  sat  down, 
As  soon  as  I  arrived.    The  Master  said: 
"Henceforth  behoves  thee  thus  to  free  thyself 
From  sloth;  for  not  by  sitting  upon  down, 
Nor  imder  coverlets,  is  fame  attained, 

50  Without  the  which  he  who  consumes  his  Kfe, 
Leaves  upon  earth  such  vestige  of  himself 
As  smoke  in  air,  and  on  the  water,  foam: 
And  therefore  rise,  o'ermaster  thy  distress 
With  soul  that  in  each  battle  overcomes, 
If  with  its  cumbrous  flesh  it  sink  not  down. 
A  longer  stairway  must  be  climbed:  that  we 
Have  got  away  from  these  is  not  enough: 
Now,  if  thou  understandest  me,  so  act 


1^ 


INFERNO  XXIV  131 

That  it  avail  thee."    Thereupon  I  rose, 
60  And,  better  than  I  felt,  I  made  myself 

Appear  with  breath  provided;  and  I  said: 

"Go  on,  for  I  am  strong  and  confident." 

Upward  along  the  crag  we  took  our  way. 

The  which  was  rugged,  strait,  and  difficult. 

And  steeper  far  than  was  the  one  before. 

I,  as  I  went,  was  talking,  so  that  I 

Might  not  seem  weak,  and  thereupon  a  voice, 

Unfit  for  forming  words,  proceeded  forth 

From  the  next  trench.    I  know  not  what  it  said, 
70  Though  on  the  summit  of  the  arch  which  there 

Crosses,  I  was  already;  but  the  one 

Who  spake  appeared  to  be  to  anger  moved. 

I  had  bent  downward;  but  my  living  eyes. 

By  reason  of  the  darkness,  could  not  reach 

The  bottom:  wherefore  I:  "See  that  thou  get, 

Master,  to  the  next  belt:  let  us  descend 

The  bridge;  for  as  from  where  I  am  I  hear. 

And  do  not  understand,  so  down  I  look. 

And  nought  distinguish."    "  I  return  to  thee," 
80  He  said,  "no  other  answer  than  to  do  it: 

Because  the  fit  request  should  be  with  deed 

Followed  in  silence."    We  went  down  the  bridge, 

At  its  head,  where  it  joins  with  the  eighth  bank, 

And  then  the  pit  was  manifest  to  me: 

And  there  I  looked  within  a  frightful  mass 

Of  serpents,  and  of  such  a  monstrous  kind. 

That  still  the  memory  congeals  my  blood. 

Let  Libya  with  her  sand  no  longer  boast; 

For  though  she  breeds  chelydri,  jaculi, 
90  Cencri  with  amphisbaena,  phareaB, — 

She  never,  with  all  Ethiopia,  *" 

Nor  with  the  land  which  lies  on  the  Red  Sea, 


132  THE   DIVINE  COMEDY 

So  many  plagues  displayed,  and  so  malign. 

Amid  this  savage  and  most  dismal  swarm 

Were  running  people  nude  and  terrified, 

Hopeless  of  hiding-hole  or  heUotrope. 

They  had  their  hands  with  serpents  tied  behind: 

These  through  the  loins  fastened  their  tail  and  head, 

And  were  entwined  in  front.    And  lo,  a  snake 
100  Darted  at  one  who  was  close  by  oiu"  side, 

And,  where  the  neck  is  to  the  shoulders  joined, 

Transfixed  him.    Never  was  an  0  or  I 

So  quickly  writ,  as  he  took  fire  and  burned, 

And  falling,  must  be  all  to  ashes  turned: 

And  after  he  was  thus  upon  the  ground 

Unmade,  the  ash  regathered  of  itself. 

And  suddenly  into  the  selfsame  man 

Returned:  so,  it  is  solemnly  declared 

By  the  great  sages  that  the  Phoenix  dies, 
110  And  then,  when  near  to  her  five-hundredth  year 

She  draws,  is  born  again.    She,  Uving,  feeds 

On  neither  herb  nor  grain,  but  only  tears 

Of  incense,  and  amomimi;  and  her  shroud. 

At  last,  is  nard  and  myrrh.    And  as  is  he 

Who  falls,  and  knows  not  how,  by  demon-power 

Which  drags  him  to  the  earth,  or  else  by  force 

Of  other  stoppage  which  doth  bind  the  man, 

Who,  when  he  rises,  gazes  round  about. 

Wholly  bewildered  by  the  great  distress 
120  That  he  has  undergone,  and  gazing,  sighs, — 

Such  was  that  sinner  after  he  had  risen. 

0  power  of  God,  how  rigorous  it  is. 

That  showers  such  blows  in  vengeance!    Then  my  Guide 

Asked  who  he  was:  he  answered  thereupon: 

"From  Tuscany  I  fell,  not  long  ago. 

Into  this  savage  gorge.    A  bestial  life, 


INFERNO  XXIV  133 

And  not  a  human,  pleased  me,  like  the  mule 

I  was:  I  Vanni  Fucci  am,  a  beast, 

And  a  fit  den  Pistoia  was  for  me." 
130  And  I  to  my  Conductor:  "Tell  him  not 

To  run  away,  and  ask  what  was  the  sin 

That  hither  thrust  him  down;  for  I  have  seen 

Him  as  a  bloody  and  a  wrathful  man." 

The  sinner  then,  who  heard,  dissembled  not, 

But  turned  toward  me  both  his  mind  and  face, 

And  with  a  painful  shame  was  all  suffused: 

Then  said:  "That  thou  hast  caught  me  in  this  woe 

In  which  thou  seest  me,  afflicts  me  more 

Than  when  I  from  the  other  life  was  snatched. 
140  That  which  thou  askest  I  cannot  refuse. 

I  am  put  down  so  far  because  I  robbed 

The  Sacristy  of  the  Fair  Ornaments; 

And  to  another,  falsely,  it  was  once 

Imputed.    But  that  thou  mayst  not  be  glad 
»        At  such  a  sight,  if  ever  thou  shalt  be 
-         Forth  of  the  gloomy  regions,  open  thou 

Thine  ears  to  my  prediction,  and  attend: 

Pistoia  first  of  Neri  strips  herself, 

Then  Florence  folk  and  fashions  renovates. 
150  Mars  up  from  Val  di  Magra  draws  a  mist, 

Inwrapt  in  turbid  clouds,  and  there  shall  rage 

A  fight,  with  tempest  furious  and  sharp, 

Over  Piceno's  plain,  whence,  suddenly 

It  shall  disperse  the  cloud,  so  that  thereby 

Shall  every  White  be  smitten:  and  I  have 

Declared  it,  that  thou  mayst  have  cause  to  grieve." 


CANTO  XXV 

The  seventh  trench  continued.  Vanni  Fucci  blasphemes  and 
defies  God.  The  serpents  attack  him.  Cacus.  Dante  witnesses 
the  blending  of  the  serpentina  and  human  forms,  and  the  inter- 
change of  the  serpent's  form  with  that  of  the  man. 

The  robber,  when  these  words  were  ended,  raised 
His  hands  with  both  the  figs,  and  cried:  "Take  that, 
God,  for  at  thee  I  point  them!"    Friends  to  me 
The  serpents  were  from  that  time  forth,  for  then 
One  coiled  around  his  neck,  as  though  it  said: 
"I  will  thou  say  no  more":  and  round  his  arms 
Another,  and  rebound  him,  clenching  so 
Itself  in  front,  he  could  not  give  a  jerk. 
Pistoia!  ah,  Pistoia!    Wherefore  not 

10  Resolve  to  turn  thyself  to  ashes,  so 

That  thou  mayst  last  no  longer,  since  the  seed 
Of  which  thou  wast  begot  thou  dost  surpass 
In  evil-doing.    I  beheld  no  soul 
Toward  God  so  proud,  through  all  the  circles  dark 
Of  Hell;  not  he  who  from  the  walls  at  Thebes 
Fell  down.    He  fled,  and  not  another  word 
He  uttered:  and  I  saw  a  Centaur  come, 
All  full  of  rage,  and  crying  as  he  came: 
"Where  is,  where  is  the  stubborn  one?"    I  think 

20  That  not  Maremma  has  so  many  snakes, 
As  he  had  up  along  his  rump,  to  where 
Begins  our  semblance.    On  his  shoulders  lay, 
With  open  wings,  a  dragon,  just  behind 
The  nape,  and  he  sets  fire  to  every  one 
That  he  encounters.    "This,"  my  Master  said, 

134 


INFERNO  XXV  135 

"Is  Cacus,  who  ofttimes,  beneath  the  rock 

Of  Monte  Aventino,  made  a  pool 

Of  blood.    Upon  the  road  his  brethren  walk 

He  does  not  go,  by  reason  of  the  theft 
30  Which  treacherously  he  wrought  on  the  great  herd 

Which  he  for  neighbor  had:  because  of  this 

His  crooked  dealings  ceased  beneath  the  club 

Of  Hercules,  who  gave  him,  it  might  be, 

A  hundred  with  it,  and  not  ten  of  them 

He  felt."    While  he  was  speaking  thus,  that  one 

Ran,  at  the  moment,  past,  and  under  us 

There  came  three  spirits,  neither  by  my  Guide 

Nor  by  myself  remarked,  until  they  cried: 

"Who  are  ye?"    Thereupon  our  talk  was  stopped, 
40  And  after,  we  gave  heed  to  them  alone. 

I  did  not  know  them,  but  it  came  to  pass, 

As  usually  it  happens,  by  some  chance. 

That  one  to  name  another  had  occasion, 

SayiM/^herever  can  have  Cianfa  stayed?" 

Wherefore,  in  order  that  my  Guide  might  be 

Att^n^ive,  up  from  chin  to  nose  I  placed 

My  finger.    If,  0  reader,  now  thou  art 

Slow  to  believe  what  I  am  going  to  tell, 

No  marvel  it  will  be,  for  scarcely  I 
50  Who  witnessed  it  admit  it  to  myself. 
^  While  I  was  holding  raised  on  them  my  brows, 

In  front  of  me  a  serpent  with  six  feet 

Darts,  and  all  over  fastens  upon  him. 

It  clasped  his  belly  with  its  middle  feet. 

And  seized  his  arms  with  those  before;  then  fixed 

Its  teeth  in  both  his  cheeks.    Upon  the  thighs 

It  spread  its  hinder  feet,  and  thrust  its  tail 

Between  the  two,  and  stretched  it  up  behind, 

Along  his  loins.    Never  was  ivy  knit 


136  THE  DIVINE  COMEDY 

60  So  to  a  tree,  as  did  that  monster  dire 
Entwine  its  own  along  the  other's  limbs. 
They  stuck  together  then  as  though  they  were 
Of  heated  wax,  and  intermixed  their  hues; 
And  neither  now  appeared  what  it  had  been: 
As  up  before  the  flame  a  color  brown 
Over  the  paper  creeps,  which  is  not  black 
As  yet,  and  fades  the  white.    The  other  two 
Looked  on,  and  each  one  cried:  "0  me,  Agnel! 
How  thou  dost  change!    See  how  already  thou 

70  Art  neither  two  nor  one."    The  two  heads  now 
Had  become  one,  when  there  appeared  to  us 
Two  figures  intermingled  in  one  face. 
Where  two  were  lost.^"^  Two  from  four  strips  the  arms 
Became;  the  thighs  together  with  the  legs, 
The  belly  and  the  chest,  to  members  turned 
Such  as  were  never  seen.    Extinguished  there 
Was  every  former  semblance;  two  and  none 
Seemed  the  distorted  image,  and  its  way 
It  went,  such  as  it  was,  with  footsteps  slow. 

80  Just  as,  beneath  the  dog-days'  mighty  lash, 
The  lizard,  as  it  darts  from  hedge  to  hedge, 
Appears  a  flash  of  lightning,  if  it  cross 
The  road,  so  there  appeared,  infuriate, 
A  little  reptile,  Uvid,  and  as  black 
As  is  a  peppercorn,  advancing  toward 
The  bellies  of  the  other  two;  and  this 
Transfixed  in  one  of  them  that  part  from  which 
At  first  is  drawn  our  nourishment,  and  then 
Fell  down,  stretched  out  before  him.    Stared  at  it 

90  The  one  transfixed,  but  not  a  word  he  said: 
Nay,  with  his  feet  unmoved,  began  to  yawn, 
Just  as  if  drowsiness  or  fever  had 
Assailed  him.    He  the  serpent  eyed,  and  him 


INFERNO  XXV  137 

The  serpent:  through  his  wound  the  one,  and  through 

His  mouth  the  other  furiously  smoked, 

And  the  smoke  met  and  mingled.    From  henceforth 

Let  Lucan  hold  his  peace,  where  he  alludes 

To  poor  Sabellus  and  Nasidius, 

And  wait  to  hear  that  which  is  now  let  fly, 
100  Let  Ovid  be  concerning  Cadmus  mute, 

And  Arethusa:  for  I  grudge  it  not, 

If  in  his  poetry  he  changes  him 

Into  a  serpent,  her  into  a  fount: 

For  never,  front  to  front,  did  he  transmute 

Two  natures,  in  such  wise  that  both  the  forms 

Were  ready  to  exchange  their  substance.^  They 

Answered  each  to  the  other  in  such  wise 

That  the  snake  split  its  tail  into  a  fork. 

And  close  the  wounded  one  together  drew 
110  His  feet.    The  legs  and  thighs  along  with  them 

Stuck  of  themselves  together,  so  that  soon 

The  juncture  made  no  mark  that  could  be  seen. 

The  cleft  tail  took  the  shape  the  other  one 

Was  losing,  and  its  skin  grew  soft,  and  hard 

The  other's.    Through  the  armpits  I  beheld 

The  arms  draw  in,  and  both  the  reptile's  feet 

Which  had  been  short,  lengthen  as  shortened  those. 

Thereafter,  the  hind  feet,  together  twined. 

Became  the  member  which  a  man  conceals, 
120  And  from  his  own  the  wretch  had  two  of  them 

Put  forth.  ^  While  with  new  color  veils  them  both 

The  smoke,  and  causes,  over  the  one  form, 

The  hair  to  grow,  and  from  the  other  one 

Strips  it  away,  the  one  upraised  himself. 

And  down  the  other  fell,  yet  not  for  that 

Their  eyes  malign  withdrawing,  under  which 

Each  one  was  changing  muzzle.    He  that  was 


138  THE  DIVINE  COMEDY 

Erect,  drew  inward  his  toward  his  temples, 
And  of  excess  of  matter  gathered  there, 

130  From  the  smooth  cheeks  the  ears  came  forth.    The  part 
Which  ran  not  back,  but  stayed,  of  that  excess 
Formed  for  the  face  a  nose,  and  made  the  Ups 
As  thick  as  was  befittmg.    He  that  prone 
Was  lying,  forward  thrusts  his  snout,  and  draws 
His  ears  within  his  head,  as  does  the  snail 
Its  horns:  and  the  tongue  cleaves  itself  which  was 
Before  united  and  was  prompt  to  speak, 
And  in  the  other  the  forked  one  unites. 
And  the  smoke  ceases  now.    The  soul  transformed 

140  Into  a  brute,  along  the  valley  fled, 
Hissing,  and  after  it  the  other  one 
Goes  spluttering  as  he  talks.    And  then  he  turned 
Upon  him  his  new  shoulders,  to  the  third 
Saying:  "Along  this  road  it  is  my  wish 
That  Buoso  run,  as  I  have  done  before, 
Upon  his  belly."    Thus  did  I  behold 
The  seventh  ballast  shifted  and  transformed; 
And  here  the  novelty  be  my  excuse, 
If  my  pen  strays  a  Uttle.    And  although 

150  My  eyes  were  somewhat  darkened,  and  my  mind 
Bewildered,  these  could  not  so  covertly 
Take  themselves  off,  but  that  I  closely  marked 
Puccio  Sciancato :  and  the  only  one 
Wasleof  the  three  comrades  who  at  first 
Appeared,  that  was  not  changed.    The  other  one 
Was  he  whom  thou,  Gaville,  dost  lament. 


CANTO  XXVI 

From  the  side  of  the  embankment  Vergil  and  Dante  remount 
to  the  crest,  a'^d  pass  upon  the  bridge  which  spans  the  eighth 
trench,  where  the  Fraudulent  Counsellors  are  punished.  Dante 
sees  numerous  lights  moving  in  the  trench.  Vergil  explains. 
A  double  flame  appears,  containing  the  spirits  of  Diomede  and 
Ulysses.  Vergil  addresses  the  flame,  and  Ulysses,  at  his  request, 
relates  the  story  of  his  final  voyage  and  of  his  death. 

Rejoice,  0  Florence,  since  thou  art  so  great. 

That  over  sea  and  over  land  thy  wings 

Thou  beatest,  and  through  Hell  thy  name  is  spread. 

Five  such  as  these  I  found  among  the  thieves. 

Thy  citizens,  whence  shame  upon  me  comes. 

And  not  to  great  esteem  dost  thou  thereby 

Ascend.    And  if,  near  morning,  one  doth  dream 

Of  what  is  true,  thou  shalt,  in  little  time. 

Make  proof  of  that  which  Prato,  not  to  say 
10  Others,  for  thee  desires.    And  if  it  were 

Already,  not  too  early  would  it  be. 

Would  that  it  were,  for  surely  it  must  be; 

For  it  will  grow  more  burdensome  to  me 

As  I  grow  older.    We  departed  thence, 

And  o'er  the  stairway  which  the  jutting  crags 

Had  made  for  our  descent  before,  again 

My  Master  mounted,  drawing  me  along. 

And  following  the  solitary  path, 

Among  the  splinters  and  among  the  stones 
20  Of  the  rock-bridge,  the  foot  did  clear  no  ground 

Without  the  hand.    I  sorrowed  then,  and  now 

Again  I  grieve  when  I  my  mind  direct 

On  what  I  saw;  and  more  my  genius  curb 

Than  is  my  wont,  that  it  may  not  pursue 

139 


140  THE  DIVINE  COMEDY 

A  course  where  Virtue  does  not  point  its  way; 
So  that  if  kindly  star  or  better  thing 
Have  with  that  boon  endowed  me,  to  myself 
I  may  not  grudge  it.    In  such  multitudes 
As  are  the  fireflies  by  the  peasant  seen, 

30  Who  on  the  hillside  rests,  down  through  the  vale 
Where  he  perchance  his  vintage  gathers  in. 
Or  drives  his  plough,  what  time  he  who  the  world 
Illimies,  keeps  least  concealed  from  us  Ms  face, 
When  to  the  gnat  the  fly  gives  place, — with  flames 
All  the  eighth  pit  was  gleaming,  as  I  marked. 
Soon  as  I  reached  the  point  where  into  view 
The  bottom  came.    And  as  the  one  who  was 
With  bears  avenged,  Elijah's  chariot  saw 
At  its  departure  when  the  horses  rose 

40  Erect  to  heaven,  for  he  with  his  eyes 
Could  not  so  follow  it  as  to  see  aught 
Save  the  flame  only,  like  a  little  cloud 
Ascending:  so  along  the  trench's  gorge 
Each  one  was  moving,  for  no  one  displays 
Its  theft,  and  every  flame  a  sinner  hides. 
Tiptoe  I  stood  upon  the  bridge  to  see. 
So  that  had  not  I  grasped  a  knob  of  rock, 
I  should  without  a  push  have  fallen  down. 
And  said  the  Guide  who  saw  me  thus  intent: 

50  "Within  the  fires  the  spirits  are:  each  one 
Is  swathed  with  that  with  which  he  is  on  fire." 
"My  Master,"  I  replied,  "through  hearing  thee 
I  am  more  certain;  but  that  so  it  was 
I  had  surmised  already,  and  but  now 
I  wished  to  say  to  thee:  'Who  is  within 
That  fire  which  comes,  so  parted  at  the  top. 
That  from  the  pyre  on  which  Eteocles 
Was  with  his  brother  placed,  it  seems  to  rise?'  " 


INFERNO  XXVI  141 

"Ulysses  is  tormented  there  within," 
60  He  answered  me,  "  and  Diomed,  and  these 

Go,  in  their  punishment  as  in  their  wrath. 

Together:  and  within  their  flame  is  mourned 

The  ambush  of  the  horse  which  made  the  gate 

Whence  issued  forth  the  Romans'  noble  seed. 

Within  there  is  lamented  the  device 

By  which  Deidamia  still,  though  dead, 

Grieves  for  Achilles;  and  the  penalty 

For  the  Palladium  is  borne  therein." 

"If  they  within  those  flames  can  speak,"  I  said, 
70  "I  earnestly  entreat  thee,  and  again 

I  pray,  0  Master,  that  my  prayer  may  have 

The  value  of  a  thousand,  that  to  me 

The  waiting  thou  do  not  refuse,  until 

The  horned  flame  come  this  way :  thou  seest  how 

I  am  inclined  toward  it  with  desire." 

And  he  to  me:  "Thy  prayer  deserves  much  praise, 

And  therefore  I  accept  it;  see  to  it. 

However,  that  thy  tongue  refrain  itself. 

Leave  talk  to  me :  for  what  thou  dost  desire 
80  I  have  conceived:  since,  seeing  they  were  Greeks, 

They  haply  would  be  scornful  of  thy  words." 

After  the  flame  had  at  the  point  arrived 

Where  to  my  Guide  the  time  and  place  seemed  fit, 

I  heard  him  in  this  fashion  speak  to  it: 

"Ye  two  within  one  fire,  if,  while  I  lived, 

I  merited  of  you, — if  I  deserved 

Little  or  much  of  you,  what  time  I  penned 

On  earth  my  lofty  verses,  do  not  move. 

But  let  the  one  of  you  tell  where,  when  lost, 
90  He  went  to  die."    Began  the  greater  horn 

Of  that  old  flame  to  flicker,  murmuring. 

Just  like  the  flame  which  by  the  wind  is  teased. 


142  THE  DIVINE  COMEDY 

Then  swaying  to  and  fro  its  tip,  as  though 
It  were  the  tongue  that  spoke,  it  sent  abroad 
A  voice,  and  said:  "When  I  from  Circe  went, 
Who  for  a  year  and  more  had  hidden  me 
Near  to  Gaeta,  ere  ^Eneas  thus 
Had  named  it,  neither  fondness  for  my  son. 
Nor  fihal  reverence  for  my  aged  sire, 

100  Nor  the  love  due  from  me,  which  should  have  made 
Penelope  rejoice,  could  quell  in  me 
The  ardent  longing  which  I  had  to  grow 
Experienced  in  the  world,  and  in  the  faults 
And  virtues  of  mankind;  but  I  put  forth 
On  the  deep,  open  sea,  with  one  sole  ship, 
And  with  that  little  company  by  which 
I  had  not  been  forsaken.    I  beheld 
The  shores  on  either  side  as  far  as  Spain, 
As  far  as  to  Morocco,  and  the  isle 

110  Of  the  Sardinians,  and  the  others  bathed 
By  that  encircUng  sea.    Aged  and  slow 
Were  I  and  my  companions  when  we  reached 
That  narrow  pass  where  Hercules  set  up 
His  boundaries,  in  order  that  beyond 
Man  may  not  push:  on  the  right  hand  I  left 
Sevilla,  and  had  Ceuta  left  behind 
Already,  on  the  other.    Thus  I  spoke: 
'Brothers,  who  through  a  hundred  thousand  risks 
Have  reached  the  West,  desire  not  to  deny 

120  To  this  your  senses'  waking  hour  so  brief, 
Experience  of  the  world  unpeopled,  won 
By  following  the  sun.    Your  origin 
Consider:  not  to  live  as  brutes  were  ye 
Created,  but  to  follow  in  pursuit 
Of  virtue  and  of  knowledge.'    With  this  speech. 
Short  as  it  was,  I  for  the  voyage  made 


ft 


INFERNO  XXVI  143 

So  keen  my  comrades,  that,  thereafter,  scarce 
I  could  have  held  them  back.    And  with  our  stern 
Turned  to  the  morning,  with  our  oars  we  made 

130  Wings  for  our  crazy  flight,  to  larboard  still 
Ever  more  bearing.    Now  the  night  beheld 
All  of  the  stars  about  the  other  pole. 
And  ours  so  low  that  from  the  ocean-floor 
It  did  not  rise.    Five  times  the  light  had  been 
Rekindled  underneath  the  moon,  and  quenched 
As  many,  since  upon  the  dangerous  way 
We  entered,  when  to  us  appeared  a  mount, 
By  distance  dim,  which  higher  seemed  to  me 
Than  any  I  had  ever  seen  before. 

140  Joyful  we  were,  but  quickly  was  our  joy 

Turned  into  mourning;  for  from  that  new  land 
Was  born  a  whirlwind,  and  our  ship's  fore  part 
It  smote,  and  made  her  whirl  about  three  times. 
With  all  the  waters,  at  the  fourth  the  stern 
Heave  up,  and  the  prow  downward  go,  as  pleased 
Another,  till  the  sea  above  us  closed." 


CANTO  XXVII 

Ulysses  and  Diomede  pass  on.  Another  voice  is  heard  asking 
about  the  present  condition  of  Romagna.  Dante  replies.  The 
spirit,  Guido  da  Montefeltro,  informs  him  who  he  is,  and  how 
Boniface  VIII.  lured  him  to  destruction.  He  describes  his 
experience  immediately  after  death. 

The  flame,  through  having  ceased  to  speak,  was  now 

Erect  and  quiet,  and  away  from  us 

Already  moving,  as  the  gentle  Bard 

Gave  his  consent,  when  still  another  one 

Which  came  behind  it,  made  us  turn  our  eyes 

Toward  its  tip,  by  reason  of  a  sound 

Confused,  which  issued  from  it.    As  the  bull 

Of  Sicily,  which  bellowed  first  with  plaint 

Of  him  (and  that  was  right)  who  with  his  file 
10  Had  shaped  it, — with  the  sufferer's  voice  was  wont 

To  bellow,  so  that,  though  it  was  of  brass, 

It  seemed  still  with  the  pain  to  be  transfixed, — 

So,  since  they  had  nor  way  nor  opening. 

The  woful  words  were  into  its  own  tongue 

Changed  by  the  fire's  informing  principle. 

But  after  they  had  taken  through  the  point 

Upward  their  way,  giving  it  that  vibration, 

Which,  as  they  passed,  the  tongue  had  given  them, 

We  heard  it  say:  "0  thou  at  whom  I  aim 
20  My  voice,  and  who  just  now  didst  Lombard  speak, 

Saying:  'Pass  on  now,  more  I  urge  thee  not:' 

Though  I  perhaps  am  come  a  little  late, 

May  it  not  trouble  thee  to  stop  and  speak 

With  me:  thou  seest  that  it  irks  me  not. 

And  yet  I  burn.    If  into  this  blind  world 

144 


INFERNO  XXVII  145 


Thou  art  but  now  fallen  from  that  sweet  land 
Of  Italy,  whence  all  my  sins  I  bring, 
Tell  me  if  peace  the  Romagnuoli  have 
Or  war;  for  I  was  of  the  mountains  there 

30  Between  Urbino  and  the  chain  wherefrom 
The  Tiber  is  unfettered."    Still  I  was 
Gazing  intently  down,  and  forward  bent, 
When  my  Conductor  touched  me  on  the  side, 
Saying:  "Speak  thou,  he  is  of  Italy." 
And  I  who  had  already  my  reply 
At  hand,  began  to  speak  without  delay: 
"0  spirit  who  art  hidden  there  below, 
From  conflict  thy  Romagna  is  not  free, 
Nor  in  its  tyrants'  bosoms  ever  was; 

40  But  now  I  there  have  left  no  open  war. 
Ravenna  is  as  she  for  many  years 
Has  been.    The  Eagle  of  Polenta  there 
Is  brooding,  so  that  with  his  wings  he  covers 
Cervia.    Under  the  Green  Paws  again 
The  city  finds  itself  which  made  erewhile 
The  long  defence,  and  in  a  gory  heap 
Did  pile  the  French.    Verruchio's  Mastiff  Old, 
And  the  Young  one,  who  with  Montagna  dealt 
So  foully,  make  an  auger  of  their  teeth 

50  There  where  it  is  their  wont.    The  Lion-cub 
Of  the  white  lair  the  cities  of  Lamone 
And  of  Santerno  governs,  changing  sides 
From  summer  time  to  winter;  and  that  town 
Whose  flank  the  Savio  bathes,  just  as  it  sits 
Between  the  mountain  and  the  plain,  so  lives 
'Twixt  tyranny  and  freedom.    Now  I  pray 
That  thou  wilt  tell  us  who  thou  art:  be  not 
More  uncomplying  than  have  others  been; 
So  may  thy  name  on  earth  maintain  a  front." 


146  THE  DIVINE  COMEDY 

60  When  the  fire,  after  its  own  fashion,  had 
Roared  for  awhile,  the  sharp  point  to  and  fro 
Moved,  and  thereafter  vented  such  a  breath 
As  follows:  "If  I  thought  that  my  reply 
Were  to  a  person  who  would  ever  go 
Back  to  the  world,  without  more  flickerings 
This  flame  would  be:  but  since,  if  truth  I  hear, 
No  one  did  ever  from  this  deep  return 
AUve,  I  answer  thee  without  the  fear 
Of  infamy.    I  was  a  man  of  arms, 

70  And  afterward  became  a  Cordelier, 

Trusting,  thus  girt,  to  make  amends:  and  sooth, 
My  trust  was  in  a  way  to  be  made  good. 
Had  it  not  been  for  the  great  Priest  (on  whom 
May  evil  seize),  who  set  me  back  again 
Into  my  former  sins;  and  how  and  why 
I  will  thou  hear  from  me.    While  I  retained 
The  form  of  bones  and  flesh  my  mother  gave 
To  me,  not  of  the  lion  were  my  deeds. 
But  of  the  fox.    All  subtle  plans  I  knew, 

80  And  covert  ways;  and  so  I  plied  then*  art. 
That  to  the  world's  end  went  abroad  the  soimd. 
When  to  that  portion  of  my  hfe  I  saw 
That  I  had  come,  when  every  one  should  strike 
The  sails,  and  coil  the  ropes,  that  which  to  me 
Before  was  pleasing,  then  became  to  me 
Irksome,  and  I,  repentant  and  confessed. 
Gave  up  myself;  alas,  unhappy  me! 
And  in  good  stead  it  would  have  stood.    The  chief 
Of  the  new  Pharisees,  in  war  engaged 

90  Hard  by  the  Lateran,  and  not  with  Jews 
Or  Saracens,  for  every  enemy 
Of  his  was  Christian,  and  no  one  had  been 
To  conquer  Acre,  or  to  drive  his  trade 


INFERNO  XXVII  147 

Within  the  Sultan's  country,— in  hunself 

Regarded  not  his  charge  pre-eminent, 

Nor  holy  orders,  nor  in  me  the  cord 

Which  used  to  make  its  girded  ones  more  lean. 

But  as,  to  cure  him  of  his  leprosy, 

Constantine,  in  Soracte,  sought  Sylvester, 
100  So  this  one  sought  me  out  as  an  adept. 

To  cure  the  fever  of  his  pride :  he  asked 

Advice  of  me,  and  I  kept  still,  because 

His  words  seemed  like  the  words  of  drunken  men. 

And  then  he  said  to  me:  *Let  not  thy  heart 

Mistrust:  from  this  time  forth  I  thee  absolve, 

And  do  thou  teach  me  so  to  act  that  I 

May  cast  down  Palestrina  to  the  earth. 

I,  as  thou  knowest,  have  the  power  to  lock 

Heaven,  and  to  unlock  it;  hence  the  keys 
110  Are  two,  for  which  my  predecessor  cared 

But  little.'    Then  his  weighty  arguments 

Pushed  me  to  where  it  was  most  ill-advised 

For  me  to  hold  my  peace,  and  so  I  said: 

'Seeing  that  thou,  my  Father,  purgest  me 

Of  that  transgression  whereinto  I  now 

Must  fall,  long  promise  and  fulfilment  short 

Shall  make  thee  triumph  on  thy  lofty  seat. 

Then  Francis  came  for  me  when  I  was  dead; 

But  to  him  one  of  the  black  cherubim 
120  Said:  'Take  him  not  away;  do  me  no  wrong. 

He  needs  must  down  among  my  minions  come, 

Because  he  gave  the  fraudulent  advice. 

Since  which,  till  now,  I  have  been  at  his  hair; 

For  he  who  is  not  contrite  cannot  be 

Absolved,  nor  can  the  will  to  sin  exist 

At  the  same  time  with  penitence,  because 

The  contradiction  does  not  suffer  this.' 


148  THE  DIVINE  COMEDY 

0  wretched  me!    How  I  did  shudder  when 
He  seized  on  me,  and  said  tx)  me :  ^  Mayhap 

130  Thou  didst  not  think  that  I  was  a  logician/ 
He  carried  me  to  Minos,  and  he  twined 
His  tail  eight  times  around  his  stubborn  back. 
And  having  for  great  fury  bitten  it. 
He  said:  'This  one  is  of  the  guilty  souls 
That  dwell  within  the  thievish  fire/  for  this, 
Here  where  thou  seest  I  am  lost,  and  mourn, 
As  thus  enrobed  I  go."    The  flame,  when  he 
Had  ended  thus  his  words,  went  off  lamenting, 
Writhing  its  pointed  horn  and  flapping  it. 

140  Both  I  and  my  Conductor  onward  went. 
Upward  along  the  crag,  until  we  were 
Upon  another  arch,  which  overhangs 
The  trench  in  which  the  fee  is  paid  of  those 
Who  for  themselves  by  sundering  gain  a  load. 


CANTO  XXVIII 

The  ninth  trench,  where  are  'punished  Schismatics  and  Sowers  of 
Discord.  A  frightful  spectacle  of  gashed  and  mutilated  forms. 
Mahomet,  Pier  da  Medicina,  Curio,  Mosca  Lamberti,  Bertrand 
de'^om. 

Who,  ever,  even  with  unfettered  words, 

For  all  his  telling,  fully  could  describe 

The  blood  and  wounds  which  now  I  saw?    Each  tongue 

Would  surely  fail,  by  reason  of  our  speech 

And  understanding,  for  small  room  have  these 

To  comprehend  so  much/  If  yet  again 

Were  gathered  all  the  folk  who,  on  a  time, 

In  the  ApuUan  land,  the  sport  of  fate, 

Lamented  for  their  blood  by  Trojans  spilled, 
10  And  for  the  tedious  war  which  with  the  rings 

Made  such  a  heap  of  spoil,  as  Livy  writes. 

Who  errs  not:  with  that  folk  that  felt  the  smart 

Of  blows,  because  to  Robert  Guiscard  they 

Had  made  resistance,  and  the  other  folk, 

Whose  bones  are  still  at  Ceperano  heaped. 

Where  each  Apulian  was  false,  and  there 

By  TagUacozzo,  where  a  victory 

The  old  Alardo  without  weapons  won: 

And  one  should  show  his  limb  transpierced,  and  one 
20  His  limb  cut  off,— there  would  be  nought  to  match 

The  hideous  mode  of  the  ninth  Evil-pit. 

Never,  by  losing  middle-piece  or  stave, 

A  cask  is  rent  apart,  as  one  I  saw 

Cleft  from  the  chin  as  far  as  to  the  point 

Where  one  breaks  wind:  between  the  legs  hung  down 
149 


150  THE  DIVINE  COMEDY 

The  entrails;  and  the  vitals  were  in  sight, 
And  the  foul  pouch  which  into  ordure  turns 
Whate'er  is  swallowed.    While  I  gave  myself 
Wholly  to  seeing  him,  he  looked  at  me, 

30  And  open  with  his  hands  he  laid  his  breast, 
Saying:  "Behold  now  how  I  rend  me!    See 
How  Mahomet  is  mangled!    Ali  goes 
Before  me  weeping,  cloven  in  his  face 
From  chin  to  forelock:  and  the  others  all 
Whom  here  thou  seest,  in  their  lifetime  were 
Sowers  of  discord  and  of  schism;  and  thus. 
Therefore,  are  cleft.    There  is  a  devil  here 
Behind,  who  regulates  so  cruelly 
This  pUght  of  ours,  and  puts  to  the  sword's  edge 

40  Afresh,  each  member  of  this  gang,  when  we 
Have  made  the  circuit  of  the  doleful  road; 
Because  our  wounds  are  all  closed  up  again, 
Ere  any  one  in  front  of  him  repass. 
''  But  who  art  thou  that  musest  on  the  crag, 
Perchance  in  order  that  thou  mayst  delay 
Thy  going  to  the  punishment  adjudged 
Upon  thine  own  confession?"    "Neither  death 
Has  reached  him  yet,  nor,  to  torment  hun,  guilt 
Brings  hun,"  my  Master  answered;  "  but  to  give 

50  To  him  experience  full,  I  who  am  dead. 

From  round  to  round  must  lead  him  here  below, 
Through  Hell:  and  surely  as  I  speak  to  thee. 
This  is  the  truth."    More  than  a  hundred  were 
They  who,  within  the  trench,  to  look  at  me, 
Stopped  when  they  heard  him,  through  astonishment 
Forgetful  of  their  torment.    "Therefore  now, 
Thou  who  perhaps  wdlt  shortly  see  the  sun. 
Bid  Fra  Dolcino,  if  he  do  not  ^dsh 
Hither,  in  no  long  time,  to  follow  me, 


INFERNO  XXVIII  151 

60  So  with  provisions  to  equip  himself, 

That  piled-up  snows  may  to  the  Novarese 

Not  give  the  victory  which,  otherwise, 

Twere  no  Hght  task  to  win."    When  Mahomet 

Had  Ufted  the  one  foot  to  go  away. 

He  spoke  this  word  to  me,  and  after  that. 

Upon  the  ground  he  stretched  it  to  depart. 

Another  one  who  had  his  throat  transpierced, 

And  close  beneath  his  brows  his  nose  cut  off, 

And  had  but  one  ear,  suddenly,  to  look, 
70  Arrested  with  the  others  by  surprise,— 

Opened  before  the  rest  his  gullet,  red 

Without,  in  every  part,  and  said:  "0  thou 

Whom  guilt  doth  not  condemn,  and  whom,  above, 

I  in  the  land  of  Italy  have  seen. 

Unless  too  close  resemblance  play  me  false, 

If  ever  thou  returnest  to  behold 

The  lovely  plain  which  from  Vercelli  slopes 

To  Marcabo,  to  thy  remembrance  bring 

Piero  da  Medicina.    And  make  known 
80  To  Fano's  worthiest  pair— to  Messer  Guido, 

And  Angiolello  likewise,  that  if  here 

Our  foresight  be  not  vain,  they  shall  be  cast 

Out  of  their  vessel,  and  within  a  sack 

Be  drowned,  through  a  fell  tyrant's  treachery, 

Hard  by  Cattolica.    A  crime  so  great 

Never  did  Neptune  see  between  the  isles 

Of  Cyprus  and  Majorca,  at  the  hands 

Either  of  pirates  or  of  Argive  folk. 

That  traitor  who  with  one  eye  only  sees, 
90  And  holds  the  city  from  the  sight  of  which 

One  of  my  comrades  here  would  wish  to  be 

Fasting,  will  make  them  come  along  with  him 

To  parley;  then  in  such  a  way  will  deal. 


152  THE  DIVINE  COMEDY 

That  they  will  need  against  Focara's  wind 
Nor  vow  nor  prayer."    And  I  repUed  to  him: 
"Show  and  declare  to  me,  if  thou  dost  wish 
That  I  should  carry  news  of  thee  above, 
Who  is  that  one  to  whom  the  sight  is  bitter?" 
Thereat  he  laid  his  hand  upon  the  jaw 

100  Of  one  of  his  companions,  and  his  mouth 
He  opened,  crying:  "This  is  he  himself, 
And  he  speaks  not:  he,  banished,  drowned  the  doubt 
In  CaBsar,  by  affirming  that  the  man. 
Once  ready,  always  to  his  hurt  allowed 
Delay."    0  how  confounded  Curio,  erst 
So  bold  to  speak,  appeared  to  me,  with  tongue 
Within  his  throat  cut  off.     And  one  who  had 
Both  hands  lopped  off,  up  through  the  murky  air 
Lifting  the  stumps,  so  that  the  blood  befouled 

110 His  face,  cried  out:  "Thou  shalt  bethink  thyself 
Of  Mosca  also,  I  who  said,  alas! 
'A  thing  once  done  is  ended,'  that  which  was 
The  seed  of  evil  to  the  Tuscan  folk." 
"And,"  added  I  to  that,  "death  to  thy  race;" 
He  thereupon,  woe  heaping  upon  woe. 
Went  on  his  way  like  one  distressed  and  crazed. 
But  I  remained  to  look  upon  the  crowd. 
And  saw  a  thing  which,  without  further  proof, 
I  would  not  venture  only  to  relate, 

120  Unless  I  were  by  conscience  reassured, 

That  good  companion  which  emboldens  man, 
Under  the  mail  of  conscious  purity. 
I  surely  saw,  and  seem  to  see  it  still. 
Going  along,  a  trunk  without  a  head. 
As  went  the  others  of  that  dismal  herd. 
And  dangling  like  a  lantern,  with  its  hand 
It  held  the  head  dissevered,  by  the  hair, 


INFERNO  XXVIII  153 

And  that  was  gazing  at  us,  and  "0  me!" 

Was  saying.    Of  itself  it  made  a  lamp 
130  To  guide  itself,  and  they  were  two  in  one. 

And  one  in  two;  how  this  can  be  He  knows 

Who  so  ordains.    When  it  was  at  the  foot, 

Directly,  of  the  bridge,  it  raised  aloft 

Its  arm  with  head  and  all,  that  so  it  might 

Near  to  us  bring  its  words,  the  which  were  these; 

"Behold  now  my  distressful  punishment. 

Thou  who  go'st  breathing,  looking  on  the  dead: 

See  if  there  any  be  as  great  as  this; 

And  so  that  thou  mayst  carry  news  of  me, 
140  Know  that  I  am  Bertrand  de  Born,  that  man 

Who  wicked  instigations  did  apply 

To  the  young  king.    Father  and  son  I  set 

At  mutual  enmity.    Achitophel 

With  Absalom  and  David  did  no  more, 

By  his  malicious  goadings.    I,  alas! 

Because  I  parted  persons  thus  allied. 

Carry  my  brain  dissevered  from  its  source 

Which  is  within  this  trunk.    And  thus  in  me 

The  law  of  retribution  is  observed." 


CANTO  XXIX 

After  some  talk  about  one  of  Dante's  relatives  whose  shade  Dante 
thinks  he  has  seen  among  the  sinners  in  the  ninth  trench,  they 
pa^s  upon  the  bridge  which  spans  the  tenth  and  last  trench 
where  the  Falsifiers  are  punished.  Dante  confers  with  two 
aldiemists,  Griffolino  and  Capocchio. 

The  many  people  and  the  wounds  diverse 

Had  made  my  eyes  so  drunken  that  they  longed 

To  stay  to  weep;  but  Vergil  said  to  me: 

"Why  art  thou  gazing  still?    Why  is  thy  sight 

Still  riveted  down  there  among  the  shades 

Mournful  and  mutilated?    Thou  hast  not 

Behaved  thus  at  the  other  pits:  reflect, 

If  thou  dost  think  to  count  them,  that  the  vale 

A  circuit  makes  of  two  and  twenty  miles; 
10  And  the  moon  is  already  imderneath 

Our  feet:  brief  is  the  time  allowed  us  now, 

And  there  is  something  else  to  see  beside 

What  thou  art  seeing."    I  forthwith  replied: 

"If  thou  hadst  given  attention  to  the  cause 

For  which  I  gazed,  thou  wouldst  have  granted  me, 

Perhaps,  a  longer  stay."    My  Guide  meanwhile 

Was  going  on,  and,  as  I  went  behind, 

I  was  ah-eady  making  my  response. 

And  adding:  "In  that  hollow  where  I  was 
20  Holding  just  now  my  eyes  so  fixedly, 

I  think  a  spirit  of  my  race  bewails 

The  sin  which  there  below  so  dearly  costs." 

Then  said  the  Master:  "Do  not  let  thy  thought 

From  this  time  forth  be  broken  upon  him: 

Attend  to  something  else,  and  let  him  there 

154 


i 


INFERNO  XXIX  155 

Remain;  for  at  the  little  bridge's  foot 

I  saw  him  point  thee  out,  and  furiously 

Make  menace  with  his  finger,  and  I  heard 

Him  by  the  name  Geri  del  Bello  called. 
30  Thou  then  wast  so  engrossed  with  him  who  once 

Held  Altaforte,  that  thou  didst  not  look 

That  way;  so  he  was  gone."    "My  Guide,"  I  said: 

"The  violent  death  which  is  not  yet  avenged 

For  him  by  any  one  who  of  the  shame 

Is  partner,  filled  him  with  disdain;  and  hence, 

As  I  suppose,  without  a  word  to  me, 

He  went  his  way;  and  more  compassionate 

Toward  him  thereby  has  made  me."    Thus  we  talked, 

As  far  as  the  first  place  which  from  the  crag 
40  A  view  of  the  next  valley  would  afford. 

Quite  to  the  bottom,  if  there  were  more  light. 

When  we  were  over  the  last  cloister  now 

Of  Malebolge,  so  that  its  lay-brothers 

Could  make  themselves  apparent  to  our  sight. 

Diverse  laments  assailed  me,  which  with  woe 

Their  shafts  had  ^^le^ed:  I  therefore  with  my  hands 

Did  cover  up  my  eirs.    Such  as  the  woe 

Would  be,  if,  in  the  season  from  July 

On  to  September,  were  the  maladies 
50  Of  Valdichiana's  hospitals,  and  those 

Of  the  Maremma  (iXi'd  Sardinia,  heaped 

Within  a  single  ditch,— such  it  was  there; 

And  thence  such  stench  did  issue  as  is  wont 

To  come  from  putrid  limbs.    From  the  long  crag, 

We,  keeping  ever  to  the  left,  went  down 

Upon  the  last  bank,  and  my  sight  was  then 

More  vivid  down  toward  the  bottom,  where 

Justice  infallible— the  ministress 

Of  the  high  Lord — inflicts  her  punishment 


156  THE  DIVINE  COMEDY 

60  Upon  the  Falsifiers  whom  she  here 
Enrolls.    A  greater  sorrow,  I  believe, 
It  was  not,  in  iEgina  to  behold 
The  people  all  enfeebled,  when  the  air 
Was  laden  with  infection  so,  that  all 
The  living  creatures,  to  the  little  worm, 
Fell  down,  and  afterward  the  ancient  folk 
Was  from  the  seed  of  ants  restored,  as  hold 
For  sure  the  poets,— than  it  was  to  see 
The  spirits  languishing  in  separate  heaps, 

70  Throughout  the  gloomy  valley.    One  was  lying 
Upon  the  other's  belly;  and  upon 
The  shoulders  one;  another,  on  all-fours. 
His  place  along  the  melancholy  road 
Kept  shifting.    Step  by  step,  without  a  word, 
We  moved  along,  with  eyes  a^d  ears  intent 
Upon  the  sick  who  could  not  lift  themselves. 
I  saw  two  sitting,  on  each  other  propped, 
As  baking-pans  against  each  other  lean 
For  heating,  specked  with  scabs  from  head  to  foot: 

80  And  I  ne'er  saw  a  currycomb  so  plied 
By  stable-boy  for  whom  his  master  waitb? 
Or  one  who  stays  awake  against  his  will, 
As  each  was  plying  fast  upon  himself 
The  clawing  of  his  nails,  so  furious  was 
The  itch,  which  no  assuagement  has  be.^"*^. 
And  the  nails  downward  dragged  the  sc^i^,  as  does 
A  knife  the  scales  of  carp,  or  other  fish 
That  has  them  larger.    "Thou,"  began  "my  Guide 
To  one  of  them,  "who  with  thy  fingers  art 

90  Thyself  dismailing,  and  dost  pincers  make, 
Sometimes,  of  them,  inform  us  if  there  be 
Any  Italian  among  those  who  are 
Within  here;  so  forever  may  thy  nails 


INFERNO  XXIX  157 

Suffice  thee  for  this  work."    "I,"  said  the  Guide, 

"Am  one  who  with  this  Hving  man  descend 

From  ledge  to  ledge,  and  mean  to  show  him  Hell." 

Then  broke  their  mutual  support,  and  each, 

Trembling,  toward  me  turned,  with  others  who 

By  echo  heard  him.    The  good  Master  gave 
100  To  me  his  whole  attention,  and  he  said: 

"Say  to  them  what  thou  wilt."    And  I  began, 

Since  so  he  wished:  "So  in  the  former  world 

May  not  your  memory  from  the  minds  of  men 

Be  filched  away,  but  under  many  suns 

So  may  it  live,— inform  me  who  ye  are 

And  of  what  folk:  let  not  your  punishn  at 

Unseemly  and  disgusting  frighten  you 

From  making  known  yourselves  to  meJ^    "  I  was," 

The  one  of  them  replied,  "an  Aretine, 
110  And  Albero  of  Siena  had  me  put 

Into  the  fire;  but  that  for  which  I  died 

Brings  me  not  hither.    True  it  is  I  said. 

Speaking  in  jest,  to  him,  that  I  knew  how 

In  flight  to  raise  me  through  the  air:  and  he, 

Possessed  of  cvriosity,  and  of  wit 

But  little,  wan  ed  me  to  ohow  the  art 

To  him;  and  ju  t  because  I  made  him  not 

A  Dasdalus,  he  caused  me  to  be  burned 

By  one  who  as  hi?  soii  regarded  him. 
120  But  Minos,  who  is^o  t  allowed  to  err, 

Because  of  alchemy,  which  in  the  world 

I  practised,  to  the  last  pit  of  the  ten 

Condemned  me."    To  the  Poet  then  I  said: 

"Now  was  there  ever  folk  so  frivolous 

As  are  the  Sienese?    Not  so  the  French, 

By  a  great  deal."    Whereat  to  what  I  said. 

The  other  leprous  one  who  overheard  me. 


158  THE  DIVINE  COMEDY 

Replied:  "Except  me  Stricca,  he  who  knew 
The  way  to  make  his  outlays  moderate; 

130  And  Niccolo,  who  made  discovery, 
First,  of  the  costly  fashion  of  the  clove, 
Within  the  garden  where  such  seed  takes  root: 
Except  too  the  fraternity  wherein 
Did  Caccia  d'Ascian  his  vineyard  squander^ 
And  his  great  forest,  and  wherein  his  wit 
The  Abbagliati  showed.    But  to  the  end 
That  thou  may?t  know  who  backs  thee  in  such  wise 
Against  the  Sien3se,  toward  me  make  keen 
Thine  eye,  so  that^lh'  face  may  truthfully 

14ft  Answer  thy  question;  so  thou  wilt  perceive 
I  am  Capocchio's  shade  who  falsified 
The  metals  by  the  means  of  alchemy; 
And  thou  shouldst  recollect,  unless  my  eye 
Deceive  me,  how  I  nature  deftly  aped." 


CANTO  XXX 

The  tenth  Bolgia  continued.  Dante  sees  counterfeiters  of  others' 
persons,  false-coiners  and  perjurers,  tormented  with  madness, 
dropsy,  and  fever.  The  mad  shade  Gianni  Schicchi  attacks 
Capocchio.  Myrrha  is  pointed  out.  The  poets  are  addressed 
by  Adam  of  Brescia,  the  counterfeiter  of  the  Florentine  coin. 
He  identifies  Potiphar's  wife  and  Sinon.  Adam  and  Sinon 
fall  into  a  wrangle,  for  his  interest  in  which  Dante  is  rebuked 
by  Vergil. 

When  Juno  was,  because  of  Semele, 

Wroth  at  the  Theban  blood,  as  more  than  once 

She  showed, — so  crazed  did  Athamas  become, 

That  when  he  saw  his  wife,  with  her  two  sons 

Go  laden  upon  either  hand,  he  cried: 

"Now  let  us  spread  the  nets,  that  at  the  pass 

I  capture  the  she-lion  and  the  cubs." 

And  then  he  spread  his  unrelenting  claws. 

And  seized  the  one  who  was  Learchus  named, 
10  And  whirled  hun  round,  and  dashed  him  on  a  rock; 

And  with  her  other  load  she  drowned  herself. 

And  when  the  Trojans'  pride  which  all  things  dared, 

Fortune  abased,  and  king  and  kingdom  were 

Together  brought  to  ruin,  Hecuba, 

Sad,  wretched,  captive,  after  she  beheld 

Polyxena  a  corpse,  and  sorrowful. 

Upon  the  margin  of  the  sea  descried 

Her  Polydorus,— of  her  sense  bereft. 

Barked  like  a  dog;  so  greatly  did  her  grief 
20  Distort  her  mind.    But  never  were  there  seen 

In  any  one  such  cruel  frenzy-fits, 

Theban  or  Trojan,— not  for  goading  beasts, 

Much  less  the  limbs  of  men, — as  in  two  shades, 

159 


160  THE  DIVINE  COMEDY 

Naked  and  pale,  I  saw,  which  biting  ran 
In  such  wise  as  a  boar,  when  from  the  sty 
He  is  let  loose.    One  at  Capocchio  came, 
And  in  his  neck's  nape  so  he  struck  his  tusks, 
That,  dragging  him,  he  made  him  scratch  his  belly 
Upon  the  solid  bottom.    And  to  me 

30  The  Aretine,  who  shuddering  remained, 
Said:  "Gianni  Schicchi  is  yon  furious  imp. 
Who,  harrying  others,  thus  goes  raving  round." 
Said  I  to  him:  "So  may  the  other  one 
Not  fix  his  teeth  on  thee, — let  not  it  be 
Irksome  to  thee  to  tell  us  who  it  is. 
Before  it  darts  from  here."    And  he  to  me: 
"The  ancient  soul  of  Myrrha  infamous 
Is  that,  who  lover  to  her  sire  became 
Beyond  the  rightful  love.    To  sin  with  hun 

40  In  this  wise,  in  another's  form  she  came, 
Herself  disguising,  as  that  other  one 
Who  yonder  goes  his  way  did,  in  himself, 
Buoso  Donati  dare  to  personate. 
That  he  might  win  the  lady  of  the  stud. 
Making  a  will,  and  to  the  testament 
Giving  a  legal  form."    And  when  had  passed 
The  two  infuriate  ones  on  whom  I  had 
Kept  fixed  my  eye,  I  turned  it  back  to  watch 
The  others  bom  in  evil  hour.    I  saw 

50  One  fashioned  like  a  lute,  if  only  he 

Had  had  his  groin  cut  off  close  by  the  part 
At  which  a  man  is  forked.    The  dropsy  sore, 
Which,  with  the  moisture  that  assimilates 
Imperfectly,  of  due  proportion  robs 
The  members,  so  that  does  not  correspond 
The  visage  to  the  paunch,— was  causing  him 
To  hold  his  lips  apart,  like  him  who  burns 


I 


INFERNO  XXX  161 

With  hectic  fever,  who,  from  thirst,  directs 

The  one  toward  the  chin,  the  other  upward. 
60  "Ye  who  from  every  punishment  are  free 

In  this  sad  world  (and  why  I  do  not  know)," 

He  said  to  us,  "look,  and  consider  well 

Master  Adamo's  misery.    I  had, 

While  still  I  lived,  enough  of  what  I  wished, 

And  now,  alas!  a  drop  of  water  crave. 

The  little  brooks  that  from  the  verdant  hills 

Of  Casentino  down  to  Arno  flow. 

Making  their  channels  cool  and  soft,  alway 

Are  in  my  view,  and  not  in  vain,  because 
70  Far  more  than  the  disease  which  makes  me  strip 

My  face  of  flesh,  their  image  dries  me  up. 

The  justice  stern  that  goads  me  draws  the  more 

Occasion  from  the  place  in  which  I  sinned. 

To  wing  my  sighs.    There  is  Romena,  where 

I  falsified  the  current  coin,  which  bore 

The  Baptist's  effigy;  for  which  I  left 

On  earth  my  body  burnt.    But  if  I  could 

But  see  the  wretched  soul  of  Guido  here. 

Or  that  of  Alessandro,  or  their  brothers', 
80  For  Branda's  fount  I  would  not  give  the  sight. 

Within  here  one  of  them  already  is. 

If  speak  the  truth  the  maddened  shades  that  round 

Are  going:  but  to  me  whose  limbs  are  bound. 

What  profits  it?    If  only  I  were  yet 

So  nimble  that  I,  in  a  hundred  years, 

Could  go  a  single  inch  upon  the  road. 

By  this  time  I  had  started,  seeking  him 

'Mid  this  disfigured  folk,  although  it  winds 

Eleven  miles  around,  and  is  not  here 
90  Less  than  a  half  a  mile  across.    I  am 

In  such  a  family  because  of  them: 


162  THE  DIVINE  COMEDY 

By  them  I  was  prevailed  upon  to  coin 
The  florins  mth.  three  carats  of  alloy." 
And  I  to  him:  "Who  are  the  wretched  pair 
Who  smoke  like  hands  in  winter  washed,  and  lie 
Close  at  thy  right?"    He  answered:  "When  I  dropped 
Into  this  cleft,  I  foimd  them  here,  and  since, 
They  have  not  made  a  turn,  nor  do  I  think 
They  will,  for  everlasting.    One  of  them 

100  Is  the  deceitful  woman  who  accused 
Joseph;  the  other  one  false  Sinon  is. 
The  Greek  from  Troy.    Sharp  fever  causes  them 
To  send  up  such  a  reek."    And  one  of  them. 
Who  took  offence,  perhaps  because  was  given 
To  him  a  name  so  black,  smote  with  his  fist 
His  belly  hard;  that  sounded  like  a  drum: 
And  Master  Adam,  with  his  arm  that  seemed 
No  softer,  smote  his  face,  and  said  to  him: 
"Although  deprived  of  motion  by  my  limbs, 

110  The  which  are  burdensome,  I  have  an  arm 
Free  for  such  need  as  this."    He  thereupon 
RepUed:  "When  thou  wast  going  to  the  fire. 
Thou  hadst  it  not  so  ready;  but  when  thou 
Wast  coining,  thou  didst  have  it  so  and  more." 
And  he  with  dropsy  said:  "Thou  speakest  truth 
In  this;  but  no  such  truthful  witness  there 
Thou  wast,  when  thou  wast  questioned  of  the  truth 
At  Troy."    Said  Sinon :  "  If  I  falsely  spake. 
Yet  thou  didst  falsify  the  coin,  and  I 

120  Am  here  for  but  one  sin,  and  thou  for  more 
Than  any  other  demon."    "Perjurer, 
The  horse  remember!"  answered  he  who  had 
The  swollen  paunch;  "  and  woeful  may  it  be 
To  thee,  that  all  the  world  is  ware  of  it." 
"To  thee  be  woeful,"  said  the  Greek,  "the  thirst 


INFERNO  XXX  163 

With  which  thy  tongue  doth  crack,  and  the  foul  rheum 
That  makes  thy  belly  thus  before  thine  eyes 
A  hedge."    The  coiner  then:  "Thus  opens  wide 
Thy  mouth  to  its  own  harm,  as  it  is  wont; 

130  For  if  I  have  the  thirst,  and  humor  bloats  me. 

Thou  hast  the  burning  and  the  head  that  pains  thee, 

And  thou  wouldst  not  require  a  many  words 

To  bid  thee  lap  Narcissus's  looking-glass." 

I  was  all  fixed  on  listening  to  them. 

When  said  my  Chief  to  me:  "Now  only  look! 

For  little  does  it  lack  that  I  with  thee 

Have  quarrel."    When  I  heard  him  speak  to  me 

With  anger,  toward  him  I  turned  with  shame, 

Such  that  it  circles  in  my  memory  still. 

140  And  as  he  is  who  dreams  of  his  own  hurt. 
Who,  dreaming,  wishes  he  were  in  a  dream, 
So  that  he  longs  for  that  which  is,  as  though 
'Twere  not,— such  I  became,  without  the  power 
To  speak;  for  to  excuse  myself  I  wished. 
And  all  the  while  I  was  excusing  me. 
And  did  not  think  that  I  was  doing  it. 
"Less  shame  doth  wash  away  a  greater  fault 
Than  thine  has  been,"  the  Master  said;  "do  thou. 
Therefore,  discharge  all  sadness  from  thyself, 

150  And  count  that  I  am  always  at  thy  side, 
If  fortune  chance  again  to  find  thee  where 
Are  people  in  a  wrangle  such  as  this; 
For  'tis  a  low  wish  to  desire  to  hear  it.'* 


CANTO  XXXI 

Leaving  the  tenth  trench,  they  proceed  to  cross  the  space  which 
separates  it  from  the  central  pit.  They  hear  the  sound  of  a 
horn,  and  Dante  sees  whai  he  supposes  to  he  towers.  'Vergil 
informs  him  that  they  are  giants  standing  in  the  central  pit. 
The  appearance  of  Nimrod  and  EphiaUes  described.  Next 
Antceus,  who  takes  the  poets  in  his  hand  and  places  them  at 
tKef>ottom  of  the  pit,  and  in  the  ninth  circle. 

One  and  the  selfsame  tongue  first  wounded  me, 

So  that  it  colored  both  my  cheeks,  and  then 

To  me  supplied  the  medicine.    Just  so 

Achilles's  lance,  I  hear,  which  also  was 

His  father's,  used  to  be  the  cause,  at  first, 

Of  an  unhappy  gift,  and  afterward. 

Of  one  benign.    Upon  the  vale  of  woe 

We  turned  our  back,  and  up  along  the  bank 

Which  girds  it  round  we  crossed,  without  exchange 
10  Of  any  talk.    Here  there  was  less  than  night, 

And  less  than  day,  so  that  in  front  of  me 

My  sight  but  Uttle  went:  but  a  loud  horn 

I  heard  resound,  so  loud  that  every  peal 

Of  thunder  faint  it  would  have  made,  the  which 

Guided  my  eyes,  which  counter  to  itself 

Pursued  its  course,  entirely  to  one  place. 

Orlando  sounded  not  so  terribly, 

After  the  woeful  rout,  when  Charlemagne 

The  sacred  squadron  lost.    Not  long  I  bore 
20  My  head  that  way  directed,  when  it  seemed 

To  me  that  many  lofty  towers  I  saw; 

Whence  I:  "My  Master,  say  what  town  is  this?" 

And  he  to  me:  "Because  from  too  far  off 

Thou  peerest  through  the  gloom,  it  comes  to  pass 

164 


INFERNO  XXXI  165 

That  afterward  in  thine  imagining 
Thou  errest.    If  that  place  thou  shalt  approach. 
Right  clearly  thou  wilt  see  how  much  thy  sense 
By  distance  is  deceived:  spur  on  thyself, 
Therefore,  a  little  more."    Then  by  the  hand 

30  He  took  me  lovingly,  and  said:  "Ere  we 
Are  farther  on,  in  order  that  the  fact 
May  seem  to  thee  less  strange,  know  that  these  are 
Not  towers  but  giants,  and  one  and  all  of  them 
Are,  from  the  navel  down,  within  the  pit. 
Around  its  margin."    As  when  is  dispersed 
The  mist,  the  sight  makes  out  by  slow  degrees 
Whate'er  the  vapor  hides  which  crowds  the  air, — 
So,  as  I  pierced  the  air  so  gross  and  dim. 
And  near  and  nearer  to  the  brink  approached, 

40  My  error  fled  from  me,  and  grew  my  fear. 
For  as,  above  its  round  enclosing  wall, 
Montereggione  crowns  itself  with  towers. 
So,  as  with  towers,  with  half  their  bodies  girt 
The  margin  which  encompasses  the  pit. 
The  giants  horrible,  whom  Jove  from  heaven 
Still  threatens  when  he  thunders.    And  I  now 
Descried  the  face,  the  shoulders,  and  the  breast 
Of  one  of  these,  and  of  the  belly  much. 
And  both  the  arms  stretched  down  along  the  sides. 

50  Right  well  did  Nature,  surely,  when  she  left 
The  art  of  making  creatures  such  as  these, 
To  take  away  such  ministers  from  Mars: 
And  if  it  be  that  she  repents  her  not 
Of  elephants  and  whales,  more  just  for  that 
And  more  discreet  he  holds  her,  who  observes 
Acutely:  for  where,  to  the  evil  will. 
And  to  the  power,  the  equipment  of  the  mind 
Is  added,  no  defence  the  human  race 


166  THE  DIVINE  COMEDY 

Can  make  against  it.    Long  and  huge  as  is 

60  At  Rome  Saint  Peter's  pine-cone,  seemed  to  me 
His  face;  and  in  proportion  with  it  were 
The  other  bones;  so  that  the  bank  which  was 
A  skirt,  down  from  the  middle,  showed  of  him 
Fidly  so  much  above,  that  to  his  hair 
Three  Frisons  would  have  made  vain  boast  to  reach: 
Since  downward  from  the  place  at  which  a  man 
Buckles  his  mantle,  I  beheld  of  him 
Thirty  great  spans.    Began  the  savage  mouth, 
Which  sweeter  psalms  did  not  become,  to  cry: 

70  "Rajel  mai  amech  zabi  dmi." 

And  said  my  Guide  to  him:  "Thou  silly  soul, 
Keep  to  thy  horn,  and  vent  thyself  with  that, 
When  wrath  or  other  passion  touches  thee. 
Seek  at  thy  neck,  and  thou  wilt  find  the  cord 
Which  holds  it  tied,  0  thou  distracted  soul, 
And  see  it  how  it  girds  thy  mighty  breast." 
Then  said  to  me:  "He  doth  accuse  himself. 
This  one  is  Nimrod,  through  whose  evil  thought 
One  language  only  is  not  in  the  world 

80  Employed.    Him  let  us  leave  alone,  and  not 
Waste  words  on  him;  for  every  tongue  to  him 
Is  such  as  his  to  others,  which  to  none 
Is  known."    Then,  leftward  turned,  we  farther  went. 
And  found,  a  crossbow-shot  away,  the  next, 
More  savage  far  and  larger.    Of  what  sort 
The  master  may  have  been  who  fettered  him, 
I  cannot  say,  but  his  left  arm  he  held 
Pinioned  in  front,  and  at  his  back  the  right. 
With  chain  which  held  him  downward  from  the  neck 

90  Engirded,  so  that  on  the  part  exposed. 
As  far  as  the  fifth  coil  it  woimd  around. 
"This  haughty  one,"  my  Leader  said,  "desired 


INFERNO  XXXI  167 

To  try  his  power  on  Jove  supreme,  for  which 

He  suffers  such  requital.    He  is  named 

Ephialtes,  and  he  showed  his  prowess  great, 

What  time  the  giants  caused  the  gods  to  fear: 

No  more  he  moves  the  arms  he  wielded  then." 

And  I  to  him:  "I  would,  if  possible, 

These  eyes  of  mine  might  have  experience 
100  Of  vast  Briareus."    Wherefore  he  replied: 

"Antaeus  thou  shalt  see  not  far  from  here. 

Who  speaks  and  is  unfettered,  who  will  set  us 

Down  at  the  very  bottom  of  all  guilt. 

The  one  whom  thou  would'st  see  is  far  beyond, 

And  is  like  this  one  bound  and  fashioned,  save 

That  in  his  countenance  he  seems  more  fierce." 

Never  was  earthquake  violent  enough 

To  shake  a  tower  with  the  force  with  which 

Ephialtes  on  the  instant  shook  himself. 
110  Then  more  than  ever  I  feared  death,  and  more 

For  that  there  was  not  needed  than  the  fright, 

Had  not  I  seen  his  fetters.    Then  we  went 

Still  farther  on,  and  to  Antseus  came. 

Who  issued  from  the  rock  a  good  five  ells, 

Besides  his  head.    "  0  thou  who  in  the  vale 

Favored  by  Fortune,  which  made  Scipio 

An  heir  of  fair  renown,  when  Hannibal 

Turned  with  his  host  his  back,— didst  once  for  prey 

Capture  a  thousand  lions,  and  of  whom 
120  It  seems  that  there  are  those  who  still  believe 

That  if  thou  hadst  been  at  the  mighty  fight 

The  which  thy  brothers  fought,  the  sons  of  earth 

The  victory  would  have  won, — set  us  below, 

(And  do  not  scorn  to  do  it),  where  the  cold 

Locks  up  Cocytus.    Do  not  make  us  go 

To  Tityus  or  to  Typhon:  this  one  has 


168  THE  DIVINE  COMEDY 

The  power  to  give  of  that  which  here  is  craved: 
Bend  therefore  down,  and  no  wry  faces  make. 
Up  in  the  world  he  still  can  give  thee  fame; 

130  For  he  is  living,  and  he  still  expects 
Long  life,  provided  grace,  before  the  tune, 
Call  him  not  to  itself."    The  Master  thus 
Did  speak:  and  quickly  he  stretched  forth  the  hands 
Whose  mighty  grip  Hercules  felt  one  time. 
And  took  my  Guide.    When  he  perceived  that  he 
Was  grasped,  to  me  said  Vergil:  "Put  thyself 
In  here,  that  I  may  grasp  thee:"  then  he  did 
So  that  one  bundle  he  and  I  became. 
Such  as  the  Carisenda  seems  to  sight 

140  Beneath  its  leaning  side,  when  over  it 
A  cloud  is  passing,  so  that  to  the  cloud 
The  tower  is  leaning  counter, — such  to  me, 
Who  was  upon  the  watch  to  see  him  bend, 
Antaeus  seemed,  and  such  that  moment  was, 
That  by  another  road  I  could  have  wished 
To  go:  but  at  the  bottom  which  ingulfs 
With  Judas,  Lucifer,  he  set  us  down, 
Lightly,  nor  there,  thus  stooping,  made  delay, 
But  raised  himself  as  in  a  ship  a  mast. 


CANTO  XXXII 

The  ninth  circle.  Dante  sees  a  great,  frozen  lake  in  which  shades 
are  imbedded.  Vergil  warns  him  not  to  tread  upon  the  heads 
of  the  transgressors.     Interviews  with  different  traitors. 

If  I  had  rough  and  rasping  verses,  such 

As  would  befit  the  dismal  cavity 

Upon  the  which  the  other  rocky  rounds 

All  thrust,  I  would  more  copiously  express 

The  juice  of  my  conception;  but  because 

I  have  them  not,  I  bring  myself  to  speak 

Not  without  fear.    For  to  delineate 

The  lowest  depth  of  all  the  universe. 

Is  not  an  enterprise  to  undertake 
iO  In  jest,  nor  with  a  prattling  tongue  that  cries 

"Mamma  and  Papa."    But  may  help  my  verse 

Those  dames  who  to  Amphion  lent  their  aid 

In  walling  Thebes  about,  so  that  my  words 

May  differ  not  from  fact.    0  rabble-rout, 

Beyond  all  miscreated,  who  are  in 

The  place  whereof  'tis  difficult  to  speak, 

'Twere'better  ye  had  here  been  sheep  or  goats. 

When  we  were  down  within  the  gloomy  pit. 

Far  lower  than  the  giants'  feet,  and  I 
20  Was  gazing  still  upon  the  lofty  wall, 

I  heard  it  said  to  me:  "Look  how  thou  steppest! 

So  go  that  with  thy  soles  thou  trample  not 

Upon  the  wretched,  weary  brothers'  heads." 

I  turned  me  thereupon,  and  I  beheld, 

Before  me,  and  beneath  my  feet,  a  lake 

Which  had  the  semblance,  from  the  frost,  of  glass, 

169 


170  THE  DIVINE  COMEDY 

And  not  of  water.    Ne'er  in  winter  made, 
In  Austria,  the  Danube  for  its  stream 
So  thick  a  veil,  nor,  yonder,  Tanais 

30  Beneath  the  freezing  sky,  as  here  there  was: 
For  e'en  if  Tambernich  had  fallen  on  it. 
Or  Pietrapana,  even  at  the  edge 
'Twould  not  have  given  a  crack.    And  as  the  frog 
Sits,  with  its  muzzle  out  of  water  thrust 
To  croak,  what  time  the  peasant-woman  dreams 
Often  of  gleaning,— Uvid  to  the  point 
Where  shame  appears,  the  shades  disconsolate 
Were  in  the  ice,  and  setting  to  the  note 
Of  storks  their  teeth.    Each  held  his  face  turned  down; 

40  Among  them,  from  their  mouth  the  cold  procures 
A  witness  for  itself,  and  from  their  eyes 
The  heart  distressed.    When  I  had  looked  around 
A  little,  to  my  feet  I  turned,  and  saw 
Two,  drawn  so  close  together  that  the  hair 
Upon  their  heads  was  intermixed.    I  said: 
"Ye  who  together  thus  your  bosoms  press. 
Tell  me,  who  are  ye?"    And  they  bent  their  necks, 
And  after  they  had  raised  to  me  their  faces, 
Their  eyes  which  hitherto,  only  within 

50  Were  moist,  dripped  o'er  the  eyelids,  and  the  frost 
Bound  up  the  tears  between  them,  and  again 
Locked  them  together.    Never  bound  a  clamp 
So  strongly  plank  to  plank;  and  therefore  they, 
Like  two  he-goats,  were  butting  one  another. 
Such  anger  mastered  them.    And  one  who  had 
Lost  both  his  ears  by  reason  of  the  cold. 
His  face  still  downward,  said:  "Why  dost  thou  so 
Mirror  thyself  in  us?    If  thou  wouldst  know 
Who  these  two  are,  the  valley  down  from  which 

60  Bisenzio  flows,  their  father  Albert's  was. 


INFERNO  XXXII  171 

And  theirs.    They  from  one  body  issued  forth: 

And  all  Caina  thou  mayst  search,  and  thou 

Wilt  find  no  shade  more  worthy  to  be  set 

In  jelly:  not  that  one  who  had  his  breast 

And  shadow  cloven  with  a  single  blow 

By  Arthur's  hand:  not  Focaccia;  not  he 

Who  with  his  head  is  so  annoying  me 

That  I  no  farther  see,  and  bore  the  name 

Of  Sassol  Mascheroni:  if  thou  art 
70  A  Tuscan,  who  he  was  thou  knowest  now 

Full  well.    And  that  thou  mayst  not  set  me  on 

To  further  talking,  be  it  known  to  thee 

That  I  was  Camicione  dei  Pazzi, 

And  I  await  Carlino,  that  he  may 

Extenuate  my  guilt."    When  I  had  seen 

A  thousand  faces,  purple  made  by  cold, 

Whence  comes  to  me  a  shudder,  and  will  come, 

Always,  at  sight  of  frozen  pools,  and  while 

We  were  toward  the  centre  going,  where 
80  All  that  is  heavy  centres,  and  I  was 

Shivering  in  the  eternal  chill,— I  know  not 

If  it  were  will,  or  destiny,  or  chance: 

But  as  I  passed  among  the  heads,  I  struck 

My  foot  hard  in  the  face  of  one.    He  cried, 

Waihng,  to  me:  "Why  dost  thou  trample  me? 

Unless,  for  Montaperti,  thou  art  come 

To  aggravate  the  vengeance,  why  dost  thou 

Molest  me?"    And  I  said:  "My  Master,  now 

Wait  here  for  me,  so  that,  by  this  one's  means, 
90  I  from  a  doubt  may  issue:  then  for  me 

Thou  shalt  make  haste  as  much  as  pleases  thee." 

The  Leader  stopped,  and  I  to  him,  who  still 

Was  fiercely  cursing,  said:  "What  sort  of  one 

Art  thou,  who  rates t  others  in  such  wise?" 


172  THE  DRaNE  COMEDY 

**Now  who  art  thou,"  he  answered,  "who  dost  go 
Through  Antenora,  smiting  others'  cheeks, 
So  that,  if  thou  wert  living,  all  too  hard 
The  blow  would  be?"    " Mve,"  my  answer  was, 
"I  am,  and  of  advantage  it  may  be 

100  To  thee,  if  fame  thou  askest,  that  I  place 
Thy  name  among  my  other  notes."    "  I  crave 
The  contrary,"  he  answered:  "get  thee  hence, 
And  pester  me  no  more:  for  in  this  plain 
Thou  poorly  knowest  how  to  flatter."    Then 
I  seized  upon  him  by  the  scalp  behind. 
And  said:  "Thou  needs  must  name  thyself,  or  else 
Upon  thee  here  a  hair  shall  not  remain." 
Wherefore  to  me:  "Although  thou  tear  away 
My  hair,  I  will  not  tell  thee  who  I  am, 

110  Nor  show  it  to  thee,  though  a  thousand  times 
Thou  stumble  on  my  head."    I  had  his  hair 
Already  twisted  in  my  hand,  and  had 
Wrenched  out  more  than  one  lock  of  it,  the  while 
He  barked,  and  fastened  downward  kept  his  eyes; 
When  cried  another:  "What  doth  ail  thee,  Bocca? 
Does  not  the  chattering  with  thy  jaws  sufiice 
For  thee,  but  thou  must  also  bark?    What  fiend 
Is  plaguing  thee?"    "Now,  traitor  curst,"  I  said: 
"No  words  I  want  from  thee,  for  to  thy  shame 

120  I  will  concerning  thee  true  tidings  bear." 

"Be  off!"  he  answered:  "tell  whate'er  thou  wilt; 
But  be  not  silent,  if  thou  gettest  out 
From  here,  concerning  him  who  had  his  tongue 
Just  now  so  prompt.    He  is  lamenting  here 
The  silver  of  the  French:  thus  thou  canst  say: 
'I  saw  that  one  from  Duera,  there  where  are 
The  sinners  in  the  cool.'    Shouldst  thou  be  asked 
Who  else  was  there,  thou  hast  beside  thee  him 


INFERNO  XXXII  173 


Of  Beccheria,  he  whose  gorge  was  slit 
130  By  Florence.    Farther  on  there  is,  I  think, 
Gianni  de'  Soldanier,  with  Ganelon, 
And  Tribaldello,  who  Faenza's  gates 
Opened  while  it  was  sleeping."    We  from  him 
Already  had  departed,  when  I  saw 
Two  frozen  in  one  hole,  so  that  a  hood 
One  head  was  to  the  other:  and  as  bread 
Is  munched  for  hunger,  so  the  upper  one 
His  teeth  fixed  on  the  other  where  the  brain 
Joins  itself  to  the  nape.    Not  otherwise 
140  Did  Tydeus  Menalippus's  temples  gnaw 
For  rage,  than  he  was  doing  to  the  skull 
And  the  adjoining  parts.    "Thou  who  by  sign 
So  bestial,  showest  hatred  upon  him 
Whom  thou  art  eating,  tell  me  why,"  I  said, 
"With  this  agreement,  that  if  thou  complain 
Against  him  with  good  reason,  I  who  know 
Both  who  ye  are  and  his  offence,  may  yet 
Requite  thee  for  it  in  the  world  above, 
If  that  with  which  I  speak  be  not  dried  up." 


) 


CANTO  XXXIII 

Count  Ugolino  relates  the  story  of  his  imprisonment  in  the  Hunger- 
Tower  at  Pisa,  and  of  the  starvation  of  himself  and  his  children. 
An  apostrophe  to  Pisa.  The  poets  pa^s  to  the  third  round, 
and  find  shades  lying  face-upward  in  the  ice.  Dante  feels 
a  wind,  and  asks  whence  it  comes;  and  is  told  that  he  will  soon 
see  for  himself.  Friar  Alberigo  explains  how  the  bodies  of 
certain  shades  in  Tohmea  are  still  living  on  earth,  hut  occupied 
by  a  demon. 

That  sinner  lifted  from  his  savage  meal 

His  mouth,  and  wiped  it  on  the  hairs  which  were 

Upon  the  head  he  had  despoiled  behind. 

Then  he  began:  "Thou  wilt  that  I  renew 

The  hopeless  sorrow  which  weighs  down  my  heart 

Ab-eady,  while  I  only  think,  before 

I  speak  of  it.    But  if  these  words  of  mine 

Are  to  be  seed  which  for  the  traitor  whom 

I  gnaw,  shall  yield  the  fruit  of  infamy, 
10  Together  thou  shalt  see  me  speak  and  weep. 

I  know  not  who  thou  art,  nor  by  what  mode 

Down  hither  thou  art  come;  but  verily, 

Thou,  when  I  hear  thee,  seem'st  a  Florentine. 

Count  Ugolino,  thou  must  know,  I  was, 

And  this  one  was  Ruggieri  the  archbishop: 

Now  I  will  tell  thee  what  the  reason  is 

That  I  am  such  a  neighbor.    Need  is  none 

To  say  that  I,  confiding  in  him,  was. 

By  the  effect  of  his  malicious  wiles, 
20  Made  prisoner,  and  after  put  to  death. 

But  that  which  thou  canst  not  have  heard,  to  wit, 

How  cruel  was  my  death,  thou  now  shalt  hear, 

And  know  if  he  has  wronged  me.    In  the  cage 

174 


CANTO   XXXIII  175 

The  which  the  title  'Hunger'  bears  from  me, 

And  wherein  others  yet  must  be  confined, 

A  narrow  chink  had  shown  me  many  moons 

Already  through  its  opening,  when  I  dreamed 

The  evil  dream,  which  of  the  future  rent  • 

The  veil  for  me.    This  man  appeared  to  me 
30  Master  and  lord,  chasing  the  wolf  and  whelps, 

Upon  the  mountain  which  conceals  the  view 

Of  Lucca  from  the  Pisans.    He  had  put 

Before  him  at  the  front  with  bitch-hounds  gaunt 

And  keen  and  trained,  Gualandi  with  Sismondi, 

And  with  Lanfranchi.    Weary  seemed  to  me. 

In  a  brief  course,  the  father  and  the  sons. 

And  ripped  with  the  keen  fangs  methought  I  saw 

Their  flanks.    When  I  before  the  dawn  awoke, 

I  in  their  slumber  weeping  heard  my  sons 
40  Who  were  with  me,  and  asking  for  some  bread. 

Thou  art  right  cruel  if  thou  dost  not  grieve 

Already  at  the  thought  of  what  my  heart 

Foreboded:  and  if  tears  thou  dost  not  shed. 

What  are  thou  wont  to  weep  for?    They  were  now 

Awake,  and  near  the  hour  was  drawing  when 

Our  food  was  usually  brought  to  us. 

And  each  one's  heart,  by  reason  of  his  dream, 

Misgave  him:  and  I  heard  them  nailing  up. 

Below,  the  entrance  to  that  dreadful  tower; 
50  Whereat,  into  the  faces  of  my  sons 

I  gazed  without  a  word.    I  did  not  weep; 

So  Hke  a  stone  I  had  become  within : 

They  wept;  and  my  poor  little  Anselm  said: 

'Father,  thou  lookest  so!    What  aileth  thee?' 

For  that  I  shed  no  tear,  nor  all  that  day. 

Nor  the  night  after,  did  I  make  reply, 

Till  the  next  sun  came  forth  into  the  world. 


176  THE  DIVINE  COMEDY 

Soon  as  a  little  gleam  had  found  its  way 
Into  the  doleful  dungeon,  and  I  saw 

60  On  the  four  faces  my  own  very  look, 
Both  of  my  hands  for  agony  I  bit. 
And  thinking  that  I  did  it  from  desire 
Of  eating,  suddenly  they  rose,  and  said: 
'Father,  it  will  be  far  less  pain  to  us, 
If  thou  wilt  eat  of  us:  with  this  poor  flesh 
Thou  clothedst  us,  and  do  thou  strip  it  off/ 
I  cahned  me  then,  not  to  increase  their  woe: 
That  day  we  all  were  silent,  and  the  next: 
Ah,  why,  thou  cruel  earth,  didst  not  thou  gape? 

70  After  that  we  were  come  to  the  fourth  day, 
Gaddo  at  full  length  flung  him  at  my  feet. 
Saying:  'My  father,  why  dost  not  thou  help  me? ' 
Here  he  expired:  and  as  thou  seest  me. 
Between  the  fifth  day  and  the  sixth,  I  saw 
The  three  fall,  one  by  one:  whence  I,  now  blind, 
Betook  myself  to  groping  over  each. 
And  after  they  were  dead  I  called  on  them 
Two  days:  then  stronger  than  my  sorrow  proved 
My  fasting."    When  he  had  said  this,  again, 

80  With  eyes  askew,  he  seized  the  wretched  skull 
With  teeth,  which  were  as  strong  upon  the  bone 
As  are  a  dog's.    Ah,  Pisa!  thou  reproach 
Of  those  who  people  the  fair  country  where 
The  si  is  heard, — whereas  thy  neighbors  are 
So  dilatory  in  thy  punishment. 
Let  the  Caprara  and  Gorgona  shift. 
And  dam  the  Arno  at  its  mouth,  that  so 
Within  thee  it  may  drown  each  soul.    For  though 
Count  Ugolino  was,  by  common  fame, 

90  Charged  with  betrayal  of  thy  fortresses, 

Thou  to  such  torture  shouldst  not  have  exposed 


CANTO  XXXIII  177 

His  sons.    Their  youthful  age  made  innocent, 

Thou  new  Thebes!    Uguccione  and  Brigata, 

With  the  two  others,  whom  above,  my  song 

Mentions  by  name.    Still  farther  on  we  went, 

To  where  the  ice  with  its  rough  clasp  enswathes 

Another  folk,  not  downward  turned,  but  all 

Reversed.    Their  very  weeping  there  forbids 

Their  weeping,  and  the  grief  which  finds  a  bar 
100  Upon  their  eyes,  turns  inward  to  increase 

Their  anguish:  for  their  first  tears  form  a  lump, 

And  all  the  hollow  underneath  the  brow 

Fill,  like  a  crystal  visor.    And  although, 

As  from  a  callus,  in  my  face  had  ceased 

All  feeling  to  abide  because  of  cold. 

It  now  appeared  to  me  as  though  I  felt 

Some  wind;  whereat  I  said:  "My  Master,  who 

Sets  this  in  motion?    Is  not,  here  below, 

All  vapor  at  an  end?"    Whence  he  to  me: 
110  Thou  soon  wilt  be  there  where  thine  eye  will  give  the 

Answer  concerning  this,  as  thou  shalt  see 

The  cause  that  showers  the  blast.    And  cried  to  us 

One  of  the  wretches  of  the  icy  crust: 

"0  souls  so  cruel  that  the  final  place 

Has  been  assigned  to  you,  from  off  my  face 

Remove  the  rigid  veils,  that  I  may  vent, 

A  little,  the  distress  which  fills  my  heart, 

Before  the  weeping  is  again  congealed." 

Whence  I  to  him:  "If  thou  desirest  me 
120  To  come  and  help  thee,  tell  me  who  thou  art; 

And  if  I  do  not  free  thee,  be  my  lot 

To  go  down  to  the  bottom  of  the  ice." 

He  answered  then:  "I  am  Friar  Alberigo; 

I  am  that  one  of  the  bad  garden's  fruit. 

Who  for  a  fig  do  here  get  back  a  date." 


178  THE  DIVINE  COMEDY 

"0,"  said  I,  "now  art  thou  already  dead?" 
And  he  to  me:  "How  in  the  world  above 
My  body  fares,  no  knowledge  I  receive. 
This  Tolomea  has  such  privilege, 

130  That  oft  the  soul  down  hither  falls,  before 
Atropos  sets  it  moving.    And  that  thou 
Mayst  from  my  face  scrape  off  more  willingly 
The  tear-drops  glazed,  know  thou  that  from  the  soul, 
As  soon  as  it  betrays,  just  as  I  did, 
Its  body  by  a  fiend  is  rapt  away. 
Who  governs  it  thenceforth,  until  its  time 
Has  all  revolved.    Into  a  well  like  this 
It  headlong  falls;  and  still,  perhaps,  appears 
On  earth  the  body  of  that  shade  which  here 

140  Winters  behind  me.    If  thou  art  come  down 
But  now,  he  should  be  known  to  thee:  he  is 
Ser  Branca  d'Oria,  and  many  years 
Are  passed  since  he  was  thus  shut  up."    "I  think," 
Said  I  to  him,  "thou  art  deceiving  me: 
For  Branca  d'Oria  is  not  yet  dead. 
And  eats,  and  drinks,  and  sleeps,  and  puts  on  clothes." 
"Within  the  Malebranche's  trench  above. 
Where  boils  the  sticky  pitch,"  he  said,  "not  yet 
Had  Michel  Zanche  come,  when  this  man  here, 

150  In  his  own  place,  in  his  own  body,  left 
A  devil,  as  did  one,  his  kinsman,  who 
Together  with  him  wrought  the  treachery. 
But  now  thy  hand  reach  hither,  and  unclose 
My  eyes  for  me:"  and  I  did  not  for  him 
Unclose  them,  and  to  be  a  churl  to  him 
Was  courtesy.    Ah  Genoese!  ye  men 
Estranged  from  all  good  habit,  and  replete 
With  every  vice,  why  are  ye  from  the  world 
Not  scattered?  for  I  found,  in  company 


CANTO  XXXIII 


179 


160  With  the  worst  spirit  of  Romagna,  one 
Such  that  already  for  his  work  he  is, 
In  soul,  bathed  in  Cocytus,  and  on  earth, 
In  body  still  he  seems  to  be  alive. 


CANTO  XXXIV 

The  fourth  and  final  round  of  the  ninth  circle,  and  the  bottom  of 
Hell.  Dante  discerns  the  dim  outline  of  Lucifer's  form,  and 
approax^hes  the  arch-fiend.  Description  of  Lucifer.  The  poets, 
grasping  his  shaggy  sides,  descend  to  the  centre  of  gravity,  and 
passing  it,  ascend,  and  finally  emerge  into  the  light  of  day. 

"  VexUla  Regis  prodeunt  infemi 

Toward  us:  therefore  look  before  and  see 

If  thou  discernest  him,"  my  Master  said. 

As,  when  a  thick  mist  breathes,  or  when  to  night 

Our  hemisphere  is  darkening,  a  mill. 

Turned  by  the  wind,  appears  from  far  away, 

Such  was  the  structure  then  I  seemed  to  see: 

Then  for  the  wind  I  drew  behind  my  Guide, 

Because  there  was  no  other  shelter  there. 
10 1  now  was,  (and  I  put  it  into  verse 

With  fear),  where  wholly  covered  were  the  shades, 

And  like  a  straw  in  glass  were  showing  through. 

Some  prone  are  lying,  others  are  erect. 

This  with  the  head,  and  that  one  with  the  soles; 

Another,  like  a  bow,  bends  face  to  feet. 

When  we  were  so  far  forward  that  to  me 

It  was  my  Master's  pleasure  to  point  out 

The  creature,  once  with  the  fair  semblance  graced. 

He  from  before  me  moved  and  made  me  stop, 
20  Saying:  "See,  there  is  Dis!  and  there  the  place 

Where  it  behoves  thee  to  equip  thyself 

With  fortitude."    How  frozen  and  how  weak 

I  then  became,  0  reader,  do  not  ask, 

For  I  record  it  not,  because  all  speech 

Would  go  for  little.    I  died  not,  nor  yet 

180 


CANTO  XXXIV  181 

Did  I  remain  alive:  now  for  thyself 

Think,  if  thou  hast  a  single  shred  of  wit, 

What  I  became  when  of  the  two  deprived. 

The  sovereign  of  the  melancholy  realm 
30  Forth  from  the  ice  issued  at  middle-breast; 

And  better  with  a  giant  I  compare. 

Than  with  his  arms  the  giants:  now  observe 

How  huge  must  be  that  whole  which  corresponds 

To  such  a  part.    If  he  was  once  so  fair 

As  he  is  ugly  now,  and  raised  his  brows 

Against  his  Maker,  rightly  should  all  woe 

Proceed  from  him.    How  great  the  marvel  seemed 

To  me,  when  I  beheld  upon  his  head 

Three  faces,  one  in  front,  of  crimson  hue; 
40  Two  were  the  others,  which  were,  just  above 

The  middle  of  each  shoulder,  joined  to  this. 

Uniting  at  the  place  where  is  the  crest; 

And  between  white  and  yellow  seemed  the  right; 

That  on  the  left  appeared  like  those  that  come 

From  where  the  Nile  descends.    Beneath  each  one 

Two  great  wings  issued,  as  so  great  a  bird 

Befitted;  I  have  ne'er  beheld  sea-sails 

So  huge.    They  had  not  feathers,  but  were  like 

In  fashion  to  a  bat's;  and  these  he  flapped, 
50  So  that  three  winds  proceeded  from  him,  whence 

Cocytus  all  was  frozen:  with  six  eyes 

He  wept,  and  tears  and  bloody  drivel  dripped 

Over  three  chins.    He  with  his  teeth  was  crunching, 

Just  like  a  brake,  a  sinner  at  each  mouth. 

So  that  he  thus  was  keeping  three  of  them 

In  torment.    To  the  one  in  front  was  nought 

The  biting  to  the  clawing,  for  the  back 

Sometimes  remained  entirely  stripped  of  skin. 

"That  soul  up  yonder,  which  is  suffering 


182  THE  DIVINE  COMEDY 

60  The  greatest  punishment,"  the  Master  said, 
"Is  Judas  Iscariot,  the  one  who  has 
His  head  within  and  plies  his  legs  outside. 
Of  the  remaining  two  who  have  their  heads 
Downward,  that  one  who  hangs  from  the  black  snout, 
Dangling,  is  Brutus:  notice  how  he  writhes, 
And  utters  not  a  word:  and  Cassius  is 
The  other,  who  appears  so  large  of  limb. 
But  rising  is  the  night  again;  and  now 
We  must  depart,  for  we  have  seen  the  whole." 

70  As  he  desired,  I  clasped  his  neck,  and  he 
Advantage  took  of  time  and  place:  and  when 
The  wings  were  opened  wide,  the  shaggy  sides 
He  clutched,  and  then  from  tuft  to  tuft  went  down 
Between  the  matted  hair  and  frozen  crusts. 
When  we  were  at  the  point  where  turns  the  thigh 
Just  on  the  thickness  of  the  haunch,  my  Guide, 
With  struggle  and  with  gasping,  turned  his  head 
Where  he  had  had  his  legs,  and  on  the  hair 
Grappled,  like  one  that  climbs,  so  that  I  thought 

80  That  we  were  going  back  to  Hell  once  more. 
Panting,  as  one  fatigued,  the  Master  said: 
"Cling  fast,  for  by  such  stairs  we  must  depart 
From  so  great  evil."    After  that,  he  passed 
Out  through  the  opening  of  a  rock,  and  placed 
Me  on  the  edge  to  sit:  and  then  toward  me 
He  stretched  his  wary  step.    I  raised  my  eyes. 
And  thought  I  should  see  Lucifer,  as  I 
Had  left  him,  and  I  saw  him  holding  there 
His  legs  turned  upward.    And  the  dullards,  who 

90  Do  not  perceive  the  nature  of  that  part 
Which  I  had  passed,  may  fancy  if  I  then 
Became  perplexed.    "Rise  up,"  the  Master  said, 
"Upon  thy  feet:  the  way  is  long,  and  bad 


CANTO  XXXIV  183 

The  road,  and  now  half-way  to  the  third  hour 

The  sun  returns."    It  was  no  palace-hall 

Wherein  we  were,  but  natural  dungeon,  formed 

With  an  uneven  floor  and  scanty  light. 

When  I  was  risen,  "Master  mine,"  I  said, 

"Before  I  pluck  myself  from  the  abyss, 
100  To  draw  me  out  of  error,  speak  to  me 

A  little.    Say,  where  is  the  ice?  and  he — 

How  is  he  thus  fixed  upside  down?  and  how 

From  eve  to  morning  in  so  short  a  time 

Has  the  sun  made  his  transit?"    He  to  me: 

"  Thou  fanciest  thyself  still  on  that  side 

The  centre,  where  I  seized  upon  the  hair 

Of  yonder  evil  worm  that  bores  the  world. 

Thou  wast,  so  long  as  I  was  going  down, 

On  that  side:  when  I  turned  me,  thou  didst  pass 
110  The  point  to  which  from  every  part  the  weights 

Are  drawn:  and  thou  art  now  arrived  beneath 

The  hemisphere  directly  opposite 

To  that  which  the  great  continent  o'erspreads. 

And  underneath  whose  zenith  there  was  slain 

The  man  who  without  sin  was  born  and  lived. 

Thou  hast  thy  feet  upon  a  little  round 

Which  forms  the  other  face  of  the  Giudecca. 

Here  it  is  morning  when  'tis  evening  there: 

And  he  who  made  a  ladder  with  his  hair 
120  For  us,  still  fixed  remains  as  first  he  was. 

From  heaven  he  fell  down  upon  this  side: 

And  for  the  fear  of  him  the  earth,  which  erst 

On  this  side  rose,  made  of  the  sea  a  veil. 

And  to  our  hemisphere  betook  itself; 

And  to  escape  from  him,  perhaps,  that  land 

Which  on  this  side  appears,  here  vacant  left 

Its  place,  and  upward  fled."    There  is  a  place 


184  THE  DIVINE  COMEDY 

Below  there,  from  Beelzebub  removed 

Far  as  his  tomb  extends,  which  is  not  known 

130  By  sight,  but  by  a  brooklet's  sound,  that  here 
Descends  along  the  hollow  of  a  rock 
Which  it  has  eaten  with  its  course  that  winds, 
And  slopes  a  little.    On  that  hidden  road 
Entered  my  Guide  and  I,  that  so  we  might 
Return  to  the  bright  world:  and  without  care 
Of  having  any  rest,  we  mounted  up, 
He  first,  and  second  I,  until  I  saw 
Some  of  the  beauteous  things  which  heaven  bears, 
Through  a  round  opening,  and  forth  from  this 

140  We  issued,  to  behold  the  stars  again. 


NOTES  ON  THE  TEXT 


ABBREVIATIONS  USED  IN  THE  NOTES 

Dante's  Works. 

Inf.         Inferno. 

Purg.      Purgatorio. 

Par,        Paradiso. 

Conv.     Convivio. 

DeMon.  De  Monarchia. 

De  Vulg.  El.  De  Vulgari  Eloquentia. 

V.  N.     Vita  Nuova. 

Greek  and  Latin  Classics. 

Horn.  Homer. 

H.  Homer's  Hiad. 

Od.  Homer's  Odyssey. 

Verg.  Vergil. 

Aen.  Vergil's  Aeneid. 

Eel.  Vergil's  Eclogues. 

Geor.  Vergil's  Georgics. 

Ov.  Ovid. 

Metam.  Ovid's  Metamorphoses. 

Ars  Am.  Ovid's  Ars  Amatoria. 

Soph.  Sophocles. 

Phars.  Lucan's  Pharsalia. 

Theb.  Statius's  Thebaid. 

Miscellaneous. 

Wisd.     Apocryphal  Book  of  "The  Wisdom  of  Solomon." 

Lit.         Literally. 

Cron.      Chronicle  of  Villani. 

References  to  the  Infemo  and  Purgatorio  are  made  to  the  line- 
numbers  of  this  tKuaslation. 

186 


CANTO  r 

The  date  assumed  by  Dante  for  the  vision  is  1300  A.D.,  on 
Good  Friday,  April  8th,  at  which  time  he  enters  on  his  journey. 
The  time  occupied  in  passing  through  the  circles  of  Hell  is  about 
twenty-four  hours;  and  twenty-one  hours  are  consumed  in  ascend- 
ing from  Lucifer  to  the  surface  of  the  Southern  Hemisphere. 
At  4  A.M.  on  Easter  day  he  emerges  with  Vergil  on  the  shore  of 
Purgatory. 

1.  Midway.  In  the  thirty-fifth  year  of  his  age.  Dante  says 
(Conv.  iv,  23)  that  human  life  proceeds  in  the  figure  of  an  arch, 
ascending  and  descending;  and  that  in  perfect  natures  the  highest j 
point  of  this  arch  would  be  in  the  thirty-fifth  year. 

2.  I  found  myself.  Some  translators  render:  "I  came  to  my- 
self, ' '  but  the  ideas  are  substantially  the  same. 

forest  dark.  Allegorically,  the  life  of  sin  and  worldliness.  In 
Conv.  iv,  24,  Dante  speaks  of  "the  wood  of  error  of  this  life." 
Comp,  Purg.  xxiii,  119  ff. 

3.  The  right  road.  Not  the  straight  or  direct  road,  but  in  a  moral 
sense:  the  path  of  right  or  righteousness. 

8.  The  good.  His  meeting  with  Vergil,  and  his  consequent 
conversion  from  the  error  of  his  ways. 

9.  the  other  things.  The  hill,  the  beasts,  his  effort  to  climb 
the  hill,  his  repulse,  and  his  blundering  at  the  foot  of  the  hill.  He 
would  fain  avoid  telling  of  these  painful  things,  bufr  will  relate 
them  in  order  to  set  forth  the  "good"  which  he  found  among  them. 

14.  an  ascent.  Allegorically,  the  life  of  faith  and  virtue  which 
one  must  mount  with  toil  and  patience. 

15.  that  valley.  The  low  ground  at  the  foot  of  the  hill,  probably 
including  the  forest. 

17.  that  planet's  rays.  The  sun  was  regarded  as  one  of  the  planets. 
Allegorically,  the  light  of  divine  grace  which  irradiates  the  life 
of  virtue. 

21.  my  heart's  lake.  The  heart  is  called  a  lake  as  being  the 
receptacle  of  the  blood. 

22.  from  the  deep  comes  panting  forth.  Comp.  Hom.  Od.  xxiii, 
234  ff. 

24.  still  speeding  onward.  Although  safe  for  the  moment,  his 
mind  so  strongly  retained  the  impression  of  his  recent  terror,  that  it 
kept  flying  on  as  if  still  pursued  by  it.  Augustine  says:  "Fear 
is  the  flight  of  the  mind."     Comp.  Butler,  "Hudibras,"  iii,  3,  64: 

"His  fear  was  greater  than  his  haste : 
For  fear,  though  fleeter  than  the  wind. 
Believes  'tis  always  left  behind." 

31.  a  pard.     The  three  beasts  were  suggested  by  Jer.  v,  6.     Comp. 

187 


188  THE  DIVINE  COMEDY 

Hos.  xiii,  7.  The  panther  is  the  syrobol  of  lust.  Some  interpreters 
find  in  the  spotted  hide  a  poHtical  reference  to  Florence  with  its 
two  factions,  the  "Whites"  and  the  "Blacks."  Lust  is  one  of 
the  chief  opposers  of  the  ascent  to  virtue.     Comp.  Inf.  xvi. 

37.  those  stars.  The  constellation  of  Aries,  marking  the  early 
Spring.  It  was  the  belief  of  both  classical  and  mediaeval  writers 
that  the  worid  was  created  in  the  Spring,  at  the  vernal  equinox. 

40.  awoke  in  me,  etc.  The  order  of  thought  is:  "The  morning 
hour  and  the  pleasant  season  were  to  me  cause  of  good  hope  concern- 
ing that  beast  with  the  dappled  skin." 

43.  a  lion.  Allegorically,  pride.  Some  add,  the  royal  house  of 
France. 

46.  the  air  appeared  afraid.     Comp.  Hen.  V.  Chorus: 

"  That  did  affright  the  air  at  Agincourt." 

So  Ovid  (Metam.  xiii,  406)  of  Hecuba,  changed  into  a  dog. 
"She  terrified  the  foreign  air  with  her  strange  barking."     Also 
Tennyson,  "Godiva": 

"  And  all  the  low  wind  hardly  breathed  for  fear." 

47.  a  she-wolf.  Avarice.  According  to  some,  the  Papal  court. 
Comp.  Purg.  XX,  11. 

58.  the  Sim  is  mute.  For  a  similar  interchange  of  the  terms 
for  sight  and  hearing,  comp.  Inf.  v,  29. 

59.  blimdering.  Not  "hastening"  or  "falling."  In  his  blind 
terror  he  was  blundering  or  stumbling  at  the  bottom  of  the  ascent. 
Comp.  Prov.  iv,  19,  which  is  quoted  Conv.  iv,  7,  5;  and  the  word 
"stumble"  is  translated  by  the  verb  used  in  this  passage. 

61.  faint.  The  shade,  instead  of  coming  at  once  to  Dante's 
assistance,  preserved  a  long  silence,  which  Dante  interpreted  as  an 
evidence  of  weakness  or  faintness.  The  word  iioco  is  often  and 
wrongly  rendered  *  *  hoarse. ' '  Comp.  Inf.  iii,  72.  As  Vergil  is  the 
symbol  of  human  reason  at  its  best,  the  allegorical  sense  seems 
to  be:  "the  voice  of  my  better  reason  had  been  so  long  unheard, 
that  it  appeared  to  me  to  have  grown  feeble." 

65.  Lombards.  In  the  mouth  of  Vergil  this  term  is  an  anachro- 
nism. The  region  now  known  generally  as  Lombardy  was  called 
Gallia  Cisalpina  until  the  time  of  the  second  Roman  Triumvirate 
(B.C.  42-31),  when  it  was  included  imder  the  general  name  of 
Italy.  At  the  time  of  the  birth  of  Christ,  the  Langobardi  (after- 
ward Lombards)  were  dwelling  on  the  southern  shore  of  the  Baltic. 
The  Lombard  invasion  of  Italy  under  Alboin  was  not  until  568  A.D. 
The  change  of  name  from  Langobardia  to  Lombardia  was  not 
definitely  recognized  untU  after  1200  A.D. 

06,  67.  Though  late,  sub  Julio.  This  is  an  error  if  it  means  that 
Vergil  was  bom  when  Julius  Caesar  was  at  the  head  of  the  state. 
Julius  Caesar  was  bom  100  B.C.,  and  died  19  B.C.  At  the  time 
of  Vergil's  birth  he  had  not  attained  to  great  eminence.  But  Dante 
probably  expresses  the  common  mediaeval  belief  that  Julius  Caesar 
was  the  first  Roman  Emperor.  The  Latin  phrase,  used  because 
it  marks  a  date  of  Roman  history,  is  too  formal  and  stately  to  mean 


NOTES  189 

merely  ''in  the  time  of  Julius."  "Though  late"  can  hardly  mean 
that  Vergil  was  bom  late  in  the  life  of  Caesar,  for  he  was  bom 
twenty-six  years  before  Caesar's  death:  but  probably  that  he  was 
bom  too  late  for  literary  eminence  during  Caesar's  life. 

76.  Vergil.  Next  to  Dante  himself,  Vergil  plays  the  most  promi- 
nent part  in  the  Commedia.  In  the  present  passage  he  says  that 
his  parents  were  of  Mantua;  and  in  Inf.  ii,  58,  Beatrice  addresses 
him  as  "Mantuan  soul."  The  familiar  inscription  said  to  have 
been  placed  upon  his  tomb,  begins  "Mantua  me  genuit"  ("Mantua 
gave  me  birth"):  and  in  Inf.  xx,  the  appearance  of  the  shade 
of  Manto,  the  Theban  prophetess,  calls  out  from  Vergil  the  graphic 
account  of  the  origin  of  the  city  of  Mantua,  in  order  that  Dante 
may  be  able  to  correct  false  reports  which  he  intimates  have  been 
circulated  on  this  subject.  He  speaks  of  it  with  affection  as  his 
city,  and  says,  "I  was  born  there."     Comp.  also  Purg.  vi,  74. 

As  a  fact,  however,  Vergil's  birthplace  was  Andes  or  Pietola, 
three  miles  southeast  of  Mantua.  Dante  mentions  Pietola  in 
Purg.  xviii,  88-89,  declaring  that  it  is  more  renowned  in  being 
Vergil's  native  place  than  Mantua  itself. 

As  the  principal  poet  of  the  Roman  Empire,  which  was  to  Dante 
a  divine  institution,  Dante  regarded  Vergil's  writings  as  inspired, 
though  in  a  lower  sense  than  the  Scriptures.  In  De  Mon.  ii,  3, 
he  is  quoted  along  with  Scripture  as  "our  divine  poet";  in  Conv. 
iv.  4,  4,  he  is  quoted  as  "speaking  in  the  power  of  God."  Comp. 
also  Inf.  X,  4,  and  Purg.  xxii,  68-77,  where  Statins  declares  that 
next  to  God,  Vergil  enlightened  him  concerning  the  true  faith. 
His  poetic  genius  made  him  Dante's  literary  master  and  model. 
This  appears  not  only  from  the  numerous  quotations,  but  from 
the  multitude  of  instances  in  which  the  matter  of  the  Commedia 
is  drawn  from  the  Aeneid  or  shaped  by  it.  If  Dante  was  as  familiar 
with  the  Eclogues  and  Georgics  as  with  that  poem,  he  gives  little 
evidence  of  it;  but  thorough  as  was  his  acquaintance  with  the 
Aeneid  (see  Inf.  xx,  120-121),  there  are  instances  in  which  he  seems 
to  have  been  dependent,  not  upon  the  poem  itself,  but  upon  the  com- 
mentary of  Servius,  a  celebrated  Latin  grammarian  of  the  fifth 
century. 

In  the  Commedia  his  name  is  adorned  with  over  seventy  epithets 
or  descriptions,  laudatory  or  affectionate,  such  as  "the  most  illus- 
trious Poet,"  "the  sweet  Poet,"  "the  illustrious  Teacher,"  "my 
good  Guide, ' '  "my  wise  Master, "  " my  sweet  Father, "  "  that  noble 
Sage  who  knew  everything,"  "the  Magnanimous,"  etc.,  etc. 

In  the  Middle  Ages  the  knowledge  of  the  literary  treasures 
and  authors  of  classical  antiquity  had  become  dim  and  confused: 
and  although  Vergil  was  still  recognized  as  the  composer  of  the 
Aeneid,  he  had  come  to  be  regarded  as  a  sort  of  legendary  charac- 
ter, and  to  be  known  chiefly  as  a  great  magician.  This  was  partly 
owing  to  a  vague  popular  remembrance  of  the  story  of  Aeneas' s 
descent  into  Hell,  which  forms  the  subject  of  the  sixth  book  of  the 
Aeneid,  and  partly  to  the  belief  that  his  fourth  Eclogue  was  a 
heathen  prophecy  of  the  birth  of  Christ. 

In  the  Commedia  he  is  the  symbol  of  human  reason  unenlightened 


\190  THE  DIVINE  COMEDY 

by  divine  grace.  He  initiates  the  process  of  Dante's  conversion 
Hby  leading  him  through  Hell  and  Purgatory,  but  is  himself  made 
to  declare  that  reason  must  give  place  to  revelation.  See  Purg. 
xviii,  50-52;  xxi,  36-38;  xxvii,  128-130.  Accordingly,  at  the 
summit  of  Purgatory,  he  hands  Dante  over  to  Beatrice,  who  repre- 
sents revealed  truth. 

82.  model.  Dante  defines  the  word  autore  as  one  who  is  worthy 
of  being  believed  and  obeyed  (Conv.  iv,  6,  3). 

97.  the  Greyhound.  There  is  much  difficulty  about  the  ex- 
planation of  this  word,  and  the  matter  is  still  unsettled.  The  best 
authorities  refer  it  to  Can  Grande  della  Scala.  This  seems  to  be 
indicated  by  the  word  "Veltro"  ("greyhound"),  the  prefix  "can" 
{cane,  "hound"),  and  the  mastiff  on  the  Scaligers'  coat-of-arms. 
Can  Grande  was  Can  Francesco  della  Scala,  the  third  son  of  Alberto 
della  Scala,  lord  of  Verona.  He  was  bom  in  1290,  and  died  in 
1329.  In  1311  he  became  sole  lord  of  Verona,  and  subsequently 
Imperial  Vicar.  He  was  a  prominent  figure  in  the  struggles  in 
which  were  engaged  Vicenza,  Padua,  Cremona,  Parma,  Reggio, 
and  Mantua.  Dante  refers  to  him  in  verj'  laudatory  terms  in 
Par.  xvii,  commending  his  warlike  deeds,  his  indifference  to  money 
and  to  toil,  and  his  generosity.  He  dedicated  the  Paradiso  to  him. 
He  is  also  supposed  to  be  referred  to  in  the  mystical  number  DXV 
in  Purg.  xxxiii.  His  tomb  is  still  to  be  seen  at  Verona  among  the 
well-known  "tombs  of  the  Scaligers."  Whoever  the  personage 
may  have  been,  Dante  appears  to  see  in  him  the  coming  ruler  and 
social  reformer  of  Italy.  Can  Grande  was  a  Ghibelline,  a  supporter 
of  the  Imperial  cause  so  dear  to  Dante.  At  the  same  time,  as  Mr. 
Tozer  justly  remarks,  "the  function  assigned  in  this  passage  to  the 
Veltro  is  of  too  wide  influence  to  be  restricted  to  any  local 
potentate." 

100.  Feltro  and  Feltro.  If  the  reference  is  to  Can  Grande,  the 
two  points  are  Feltro  in  Venetia,  and  Montefeltro  in  Romagna, 
thus  indicating  generally  the  countrj'  in  which  Verona  is  situated, 
and  which  was  the  scene  of  most  of  Can  Grande's  efforts  in  the 
Imperial   cause. 

101.  low-lying  Italy.  According  to  some,  "low-lying"  is  used 
ironically  for  "haughty."  Others  explain  "abject,  down-trod- 
den." The  phrase  is  doubtless  a  reminiscence  of  Aen.  iii,  522, 
and  the  primary  sense  is  geographical,  although  there  is  probably 
an  underlying  hint  of  the  depressed  condition  of  Italy  in  the  thir- 
teenth century. 

103.  Camilla.  The  daughter  of  King  Metabus,  who  assisted 
Tumus  the  king  of  the  Rutulians,  against  Aeneas,  and  was  slain 
by  Aruns.     See  Aen.  xi,  535  ff.      She  appears  in  Limbo,  Inf.  iv,  121. 

104,  Nisus  and  Euryalus.  Two  Trojan  youths  who  accom- 
panied Aeneas  to  Italy,  and  perished  in  a  night  attack  on  the  Ru- 
tulian  camp.     See  the  story  in  Aen.  ix,  179-449. 

107.  Envy.  The  en\y  of  the  De^^l  caused  the  fall  of  man,  and 
brought  therewith  into  the  world  the  sin  of  covetousness  symbolized 
by  the  she-wolf. 

113.  crying  out  upon  the  second  death.     The  second  death  is  the 


NOTES  191 

state  of  the  damned  after  time  is  no  more.  See  Rev.  xx,  14  ;  xxi,  8. 
It  is  being  cast  into  the  lake  of  fire  and  brimstone,  and  therefore 
cannot  mean  total  annihilation,  as  some  hold  If  the  verb  "gridare" 
which  occurs  eighty  times  in  the  Commedia,  means  here  "to  in- 
voke," or  "to  cry  out  with  desire,"  it  is  the  only  instance  of  that 
meaning;  and  why  should  the  damned  invoke  a  worse  condition? 
The  meaning  is  rather  "to  cry  out  upon,"  to  protest  angrily  against 
the  fate  in  store. 

115.  content.  The  souls  in  Purgatory,  who  cheerfully  endure 
the  pains  which  prepare  them  for  heavenly  bliss. 

119.  A  spirit  worthier.     Beatrice. 

129.  this  ill  and  worse.  The  gloomy  forest  and  the  ills  which 
would  result  from  my  entanglement  in  it. 

131.  Saint  Peter's  gate.  The  entrance  to  Purgatory,  the  keys 
of  which  are  intrusted  by  Peter  to  its  angelic  guardian. 


CANTO  II 

1.  dusky.  Lit.,  "black";  but  here  in  the  general  sense  of  "ob- 
scure. ' ' 

2.  releasing.  Reminding  one  of  Homer's  word  for  "eventide": 
"the  time  of  unyoking  cattle."     II.  xvi,  779;    Od.  ix,  58. 

all,  all  alone.  Without  human  companionship,  for  Vergil  was 
a  spirit. 

4.  the  stress.  Explained  by  the  following  words:  The  struggle 
with  the  difficulties  of  the  road,  and  the  distress  at  beholding  the 
torments  of  the  damned. 

7.  Muses.  In  the  Ep.  to  Can  Grande  §  18,  Dante  says  that  rhet- 
oricians begin  their  works  with  an  exordium  ;  but  poets  add  an 
invocation,  because  they  require  a  certain  divine  gift  from  super- 
natural intelligences.  The  Muses  are  invoked  also  in  Purg.  i,  8, 
and  in  Par  i,  13.  The  invocation  in  the  Inferno  appears  in  the 
second  Canto,  because  the  first  is  a  general  introduction  to  the 
whole  poem.  This  explains  why  there  are  thirty-four  Cantos  in 
the  Inferno,  and  only  thirty-three  in  each  of  the  other  parts. 

13.  Silvius.  The  son  of  Aeneas  by  Lavinia,  the  daughter  of 
Latinus,  king  of  Latium.  He  was  bom  after  his  father's  death. 
Aen.  vi,  763-766. 

14.  went  to  the  world  immortal.  Referring  to  Vergil's  account 
of  Aeneas's  journey  through  the  lower  world,  in  Aen.  vi. 

15.  16.  If  gracious— the  Adversary  of  all  evil.  The  general  sense 
is :  If  God  was  so  gracious  as  to  allow  Aeneas  to  make  this  journey, 
considering  that  the  Roman  Empire  was  to  proceed  from  his  settle- 
ment in  Italy,  i'  seems  wholly  befitting. 

23.  the  holy  ^  .u.ce.  Rome  was  divinely  ordained  to  be  the  seat 
not  only  of  the  Empire  but  of  the  Church. 

25.  things  which  the  cause,  etc.  Things  relating  to  the  future 
destiny  of  Rome,  communicated  to  him  by  Anchises.  Aen.  vi, 
765-893. 


192  THE  DIVINE  COMEDY 


26.  his  triumph.  His  conquest  of  Italy,  which  led  to  the  founda^- 
tion  of  Rome,  the  seat  of  the  Papacy.  Here,  as  everj^ where,  Dante 
asserts  the  joint  supremacy  of  the  Church  and  the  Empire. 

29.  the  'chosen  vessel.'  St.  Paul.  See  Acts  ix,  15;  2  Cor. 
xii,  2  fif.  "  Thither"  does  not  necessarily  signify  that  Paul  visited 
Hell,  although  that  was  a  common  mediaeval  belief.  Hence  the 
legend  of  "the  Vision  of  St.  Paul."  "  Thither  "  probably  means 
simply  the  eternal  worid.  Aeneas  visited  not  only  Tartarus  but 
the  Elysian  Fields. 

45.  the  high-minded  one.    In  contrast  with  Dante's  cowardice. 

53.  suspended.  In  Limbo,  in  a  state  between  torment  and  bliss. 
See  Inf.  iv. 

56.  the  star.  Not  any  special  star,  nor  the  sim,  but  used  generic- 
ally  or  abstractly.     Practically  equivalent  to  "the  stars." 

60.  so  long  as  motion  lasts.  The  text  of  the  passage  is  much 
disputed,  many  reading  mondo,  "the  world,"  for  moto,  "motion." 
According  to  the  former  reading  the  meaning  would  be:  "As 
long  as  the  world  shall  last."  According  to  the  latter:  "As  long 
as  its  motion  passes  on  into  the  boundless  future."  In  Conv. 
i,  3,  2,  Dante  quotes  Vergil:  "Fame  flourishes  by  activity,  and 
acquires  greatness  by  going  onward."  It  is  not  improbable  that 
the  words  here  put  into  Beatrice's  mouth  were  suggested  by  the 
Vergilian  passage. 

71.  Beatrice.  Dante,  Vergil,  and  Beatrice  are  the  three  princi- 
^al  figuresTn^the  Commedia.  Beatrice  inspired  its  composition. 
She  is  the  lost  love  of  Dante's  youth ;  she  leaves  her  seat  in  Heaven 
and  descends  to  Hell  to  rescue  him  from  moral  ruin ;  the  prospect 
of  seeing  her  stimulates  and  sustains  him  in  the  weary  ascent  of 
Purgatory.  She  is  his  severe  mentor  in  the  Earthly  Paradise, 
and  his  companion  and  guide  through  Heaven.  The  questions 
concerning  her   identity,  her  symbolism,  her  very  existence,  have 

Eroduced  a  literature.  She  is  the  theme  of  perhaps  the  most 
eautiful  love-story  in  all  literature,  which  is  related  in  the  Vita 
Nuova,  the  earliest  of  Dante's  writings,  composed  in  1290  or  1291. 
She  was  the  daughter  of  Folco  Portinari,  a  Florentine  noble,  and 
was  only  a  few  months  younger  than  Dante,  who  saw  her  for  the 
first  time  in  her  ninth  year.  Nine  years  later  he  saw  her  again, 
and  received  her  salutation.  They  had  no  intercourse  bej^ond  this. 
She  married  a  wealthy  banker  of  Florence,  Simone  de  Bardi,  and 
died  in  1290,  in  her  twenty-fifth  year.  She  was  the  inspiration 
of  Dante's  earliest  poetical  efiforts,  and  the  Commedia  was  her 
apotheosis.  There  are  three  leading  theories  of  her  personality 
and  her  allegorical  significance.  According  to  the  first,  Dante's 
Beatrice  is  the  historical  Beatrice  Portinari,  transfigured  by  the 
poet's  imagination.  A  modification  of  this  view  is  that  although 
she  was  a  real  person,  named  Beatrice  and  beloved  by  the  poet, 
she  was  not  Beatrice  Portinari.  The  second  theory  is  that  Beatrice 
is  merely  a  name  attached  by  Dante  to  an  ideal  conception  of 
womanhood,  and  unrelated  to  any  li\'ing  being.  The  third  theory 
is  that  Beatrice  is  only  an  arbitrary  symbol  of  some  fact  or  truth, 
the  fact  or  truth  being  the  only  reality.     This  theory  assumes 


NOTES  193 

different  forms  according  to  the  different  conceptions  of  the  thing 
symboUzed. 

Of  these  theories  I  accept  the  first,  which  may  include  features 
of  the  two  others:  for  instance,  that  Beatrice  was  Dante's  ideal 
of  womanhood,  and  that  she  was  transfigured  in  the  Commedia 
into  a  sacred  symbol  of  divine  truth.  But  I  hold  that  she  was  a 
real  personage,  the  Beatrice  of  the  Vita  Nuova,  the  object  of  Dante's 
youthful  passion,  snatched  away  by  an  early  death,  and  mourned 
by  him  during  the  rest  of  his  life. 

The  literature  of  the  subject  is  voluminous.  Among  the  most 
notable  discussions  is  that  of  Scartazzini,  who,  however,  abandoned 
in  part  his  original  positions.  He  began  by  asserting  the  historical 
reality  of  Beatrice  and  her  identity  with  Beatrice  Portinari,  and 
that  she  was  literally  the  object  of  Dante's  passion.  He  drifted 
more  and  more  toward  the  ideal  theory,  holding  that  the  object 
of  Dante's  affection  was  primarily  an  ideal,  and  finally  that,  who- 
ever Beatrice  may  have  been,  she  became  to  Dante  little  more 
than  a  pure  symbol,  representing  the  ideal  Papacy.  Gietmann, 
1889,  holds  that  the  story  of  the  Vita  Nuova  is  a  dream,  attached 
to  the  poet's  life  by  his  biographers  and  interpreters.  The  subject 
is  also  treated  by  Kraus  in  his  ''Dante,"  especially  in  relation 
to  the  Vita  Nuova  and  the  allegorical  significance  of  Beatrice. 
According  to  him  Beatrice  is  an  imaginary  name,  and  the  visions 
of  the  Vita  Nuova  are  poetic  fictions.  Among  the  very  latest 
and  best  summaries  and  discussions  of  the  whole  question  is  that 
of  Dr.  Edward  Moore,  of  Oxford,  in  the  second  series  of  his  "Studies 
in  Dante,"  1899. 

76.  Lady  of  virtue.  Virtu  is  habitually  used  by  Dante  for 
"power." 

77.  surpasses  all,  etc.    Only  by  the  knowledge  of  divine  truth    i 
can  the  thoughts  of  man  rise  above  the  earthly  sphere.  .V 

78.  smallest  orb.  The  heaven  of  the  Moon,  which  Is  next  to  the 
earth,  and  may  be  said  to  contain  it. 

86.  the  vast  region.     The  Empyrean.     Comp.  Purg.  xxvi,  66. 

94.  your  misery.  The  longing  without  hope  which  characterizes 
Limbo. 

95.  flame.  Referring  to  the  Inferno  at  large,  since  there  is  no 
burning  in  Limbo. 

96.  a  noble  lady.  Of  heavenly  lineage.  -The  Virgin  Mary  is 
meant.  She  is  the  symbol  of  the  free  grace  which  precedes  the  good 
efforts  of  men,  or,  as  it  is  called  by  theologians,  "prevenient  grace." 
So  in  St.  Bernard's  noble  hynm  to  the  Virgin,  Par.  xxxiii,  1  ff.: 

"  Not  only  him  who  asks 
Thy  bounty  succors,  but  doth  oft  forerun. 
Freely,  the  asking." 

97.  hindrance.  Which  Dante  has  encountered  in  trying  to 
climb  the  mount  of  virtue. 

98.  99.  judgment — she  breaks.  Mitigates  the  strictness  of  divine 
justice  in  Dante's  case. 

99.  Lucia.    Usually  supposed  to  be  a  Christian  virgin  of  Syra- 


194  THE  DIVINE  COMEDY 

cuse  in  the  time  of  Diocletian  (A.D.  284-305).  She  persuaded 
her  mother  to  give  all  her  wealth  to  the  poor,  as  a  thank-ofifering 
for  a  miraculous  cure  of  disease.  For  this  she  was  denounced 
to  the  Roman  Prefect,  and  was  condemned  to  suffer  cruel  indigni- 
ties. All  tortures  proved  powerless,  and  she  was  finall}'  slain 
with  the  sword.  This  is  the  oldest  legend,  to  which  was  added  later 
the  stor\^  that  she  plucked  out  her  eyes  lest  they  should  tempt  her 
lover,  and  that  they  were  miraculously  restored.  She  was  the 
special  patroness  of  sufferers  from  diseased  eyes,  and  offerings 
of  silver  eyes  are  stiU  to  be  seen  in  some  of  her  churches.  In  de- 
votional pictures  she  is  represented  as  bearing  her  ej'es  in  a  dish, 
and  carr\-ing  in  her  hand  the  awl  with  which  they  were  destroj'ed. 
In  other  pictures  she  bears  a  flaming  lamp.  In  the  Commedia,  she 
is  the  symbol  of  iUumiriating  grace.  In  Purgator}%  she  conveys 
Dante  iri  his  sleep  from  the  Valley  of  the  Kings  to  the  gate  of  Purga- 
tory- proper.  See  Purg.  ix,  51-63.  A  few  interpreters  hold  that 
by  Lucia  was  meant  St.  Lucy  of  Florence,  a  nun,  afterward  canon- 
ized, the  sister  of  Cardinal  Ottaviano  degli  Ubaldini,  referred  to 
m  Inf.  X,  122. 

101.  thy  faithful  one.  This  may  imply  that  Lucia.:was  Dante's 
patron  saint.  In  Conv.  iii,  9,  6,  he  says  thafKeTiad  wearied  his 
e^-es  with  too  much  reading,  so  that  all  the  stars  appeared  obscured 
with  a  mist. 

105.  Rachel.  Daughter  of  Laban,  and  wife  of  Jacob  the  Patri- 
arch. Gen.  xxix.  She  is  aUuded  to  in  Inf.  iv,  59,  and  appears 
in  Dante's  vision  in  Purgatory.  Purg.  xxvii,  98-103.  She  is 
pointed  out  to  him  in  the  Empyrean,  with  Beatrice  sitting  at  her 
right.     Par.  xxxii,  7-9.     Shells  the  symbol  pf  Contemplation. 

106.  God's  true  praiseT'^^Many  said  when  she  passed:  'She  is 
a  marvel.  Blessed  be  the  Lord  who  can  work  thus  admirably.'  " 
V.  N.  xx^'i. 

108.  forsook  the  vulgar  throng.  Referring  to  Dante's  with- 
drawal to  a  Ufe  of  study,  that  he  might  worthily  celebrate  Beatrice. 
V.  N.  xliii. 

111.  the  stream.  The  life  of  the  world,  which  is  more  tempestuous 
than  the  sea. 

123.  the  short  road.  The  direct  route  to  the  HiU  of  Virtue. 
Vergil  led  Dante  by  the  longer  way  through  Hell  and  Purgatory. 
Comp.  Inf.  i,  88-89,  110  ff. 

125.  invite.  Why  dost  thou  in^ite  such  cowardice?  Others, 
however,  assuming  a  different  derivation  of  the  verb,  translate: 
"\Miv  dost  thou  make  a  bed  for,"  or  "harbor  cowardice  in  thy 
heart?" 

131.  whitens.    Illumines. 


NOTES  195 


CANTO  III 

Before  entering  upon  the  succession  of  punishments  introduced 
by  this  canto,  the  reader  should  understand  the  principle  which 
underlies  all  the  details  of  Dante's  scheme  of  retribution.  The 
conception  of  the  various  punishments  as  mere  arbitrary  and 
brutal  forms  of  vengeance  must  be  summarily  dismissed.  The 
punishments  are  not  remote  effects  of  the  sins.  Dante  abolishes 
"the  interval  between  the  sin  and  its  consequences.  He  foreshortens, 
and  puts  the  sin  and  its  punishment  together  before  us,  as  parts 
of  an  organic  whole.  The  punishment  is  enfolded  in  the  sin — is  an 
integral  part  of  it.  He  who  is  under  the  dominion  of  any  sin,  is 
already  in  the  atmosphere  of  its  punishment.  In  the  present  life 
men  do  not  realize  this.  It  is  brought  to  light  in  Dante's  Hell. 
The  several  punishments  are  not  arbitrary,  but  have  a  direct  and 
definite  relation  to  the  inward  moral  condition  of  the  transgressor, 
and  are  appropriate  expressions  of  that  condition.  Anger,  for 
instance,  envelops  the  soul  in  a  foul  and  suffocating  medium,  which 
distorts  the  vision  and  prevents  any  proper  apprehension  of  truth. 
Accordingly,  the  angry  are  plunged  in  a  muddy  lagoon  (Inf.  vii, 
109-126);  the  violently  angry  on  the  surface,  and  the  sullenly  angry 
in  the  mud  at  the  bottom.  Victims  of  lascivious  passion  are  driven 
headlong  by  their  depraved  impulses.  In  Hell  their  souls  are 
at  the  mercy  of  an  eternal  hurricane  (Inf.  v,  32-45).  Evil  coun- 
sellors, who  kindle  flames  of  discord  in  the  world,  are  wrapped 
in  tongues  of  fire  (Inf,  xxvi,  28-51). 

There  should  also  be  noted  here  Dante's  personal  attitude  toward 
the  sins  and  their  victims.  In  a  few  instances  he  exhibits  leniency 
and  compassion;  but,  as  a  rule,  he  is  indignant,  contemptuous, 
reproachful,  and  insulting.  With  the  brutal  denunciation  of  the 
imprecatory  Psalmist,  he  mingles  the  sneering  sarcasm  of  a  Meph- 
istopheles.  He  invents  the  most  revolting  and  humiliating 
modes  of  torture.  He  revels  in  these.  He  even  applies  his  own 
hands  to  aggravate  them.  He  compasses  them  with  vile  lan- 
guage and  obscene  gestures.  He  taunts  the  sufferers  with  sneers, 
and  describes  their  punishments  with  contemptuous  images.  (See 
Inf.  xvii,  47-50,  53-56 ;  xxi,  55-57 ;  xviii,  53  ;  viii,  39-50 ;  xix, 
94-118  ;  xxi,  xxii).  This  is  not  always  nor  often  the  result  of 
personal  enmity  toward  the  offenders:  it  is  rather  the  attitude 
of  an  Old  Testament  prophet:  **Do  not  I  hate  them  that  hate 
thee?     I  hate  them  with  perfect  hatred." 

6.  love  original.  Dante  is  not  accentuating  the  idea  that  Hell 
is  the  creation  of  love  ;  he  is  describing  it  as  the  creation  of  the 
triune  God.  According  to  Thomas  Aquinas,  power  is  the  at- 
tribute of  the  Father,  wisdom  of  the  Son,  and  love  of  the  Holy 
Spirit.     Aquinas  also  says  that  punishment  is  love  if  it  is  just. 

7.  no  created  things.     See  Introduction  on  Dante's  Hell. 

12.  grievous.  Not  "hard  to  understand,"  but  "painful,  men- 
acing. ' ' 


196  THE  DIVINE  COMEDY 

18.  the  good  of  understanding.  The  good  of  understanding 
is  the  highest  good,  viz.,  the  contemplation  of  God  and  the  vision 
of  absolute  truth  and  goodness,     CJonv.  ii,  14,  5. 

22.  resounded  sighs,  etc.  Nothing  can  be  more  fearful  than  this 
babel  of  sounds.  The  ear  is  appeal^  to  before  the  eye.  Dante  is 
keenly  sensitive  to  impressions  of  sound.  I  am  indebted  to  my 
friend,  the  late  Dr.  Charlton  T.  Lewis,  for  calling  my  attention 
to  the  wide  difference  between  poets  as  regards  the  relative  promi- 
nence assigned  by  the  imagination  to  the  appeals  made  to  sight 
and  to  hearing.  He  says  that  Dante,  Vergil,  MUton,  and  Tennyson 
are  by  far  the  most  inclined  to  appeal  to  the  imaginative  ear,  while 
the  majority  of  poets  rarely  do  so,  and  only  imder  the  stress  of  their 
subject  or  of  special  occasions.  The  passage  is  an  echo  of  Aen. 
vi,  557-561. 

24,  25.  strange  languages— tongues  horrible. — Unfamiliar  lan- 
guages and  dialects  of  fearful  sound. 

26.  soimd  of  hands.  Smiting  together,  or  beating  breasts  and 
faces. 

30.  with  horror.  The  majority  of  textual  authorities  read 
d' error,  "with  error;"  but  the  passage  is  a  manifest  imitation  of 
Aen.  ii,  559:  "cruel  horror  encompassed  me." 

35.  devoid  of  infamy  and  praise.  Probably  suggested  by  Rev. 
iii,  15,  16. 

36.  that  evil  band.  Notice  the  intense  personal  feeling.  A 
strong  partisan  like  Dante  would  be  peculiarly  intolerant  of  neutrals 
— "outsiders,  who  never  lived  because  they  never  felt  the  pangs 
or  ecstasies  of  partisanship."     (J.  A.  Symonds.) 

37.  of  angels.     This  type  of  angels  is  of  Dante's  own  invention. 
41.  would  have  somewhat  to  boast  of  them.     Because  they  would 

see  these  less  flagrant  sinners  condemned  in  common  with  high- 
handed transgressors. 

45.  death.     Annihilation.     See  Rev.  ix,  6. 

bund  Ufe.     Ignoble  ;  not  guided  by  reason  or  virtue. 

46,  47.  envious  of  every  other  lot.  They  prefer  any  pimishment 
to  their  own. 

49.  Mercy  and  Justice  spiun  them.  Dr.  Moore  cites  a  happy 
parallel  from  Scott's  "Rob  Roy."  "Ower  bad  for  blessing  and 
ower  good  for  banning." 

51.  a  banner.  The  sin  is  cowardly  and  lazy  indifference  to  moral 
attitude.  Insensible  to  the  spur  of  positive  conviction  or  of  gen- 
erous loj'alty,  they  are  stung  by  unreasoning  and  venomous  insects. 
Too  indolent  or  too  cowardly  to  move  in  any  definite  direction, 
they  are  forced  to  keep  moving  aimlessly  round  and  round.  Too 
indifferent  to  attach  themselves  to  any  standard,  they  are  forced 
to  follow  a  flag  which  bears  no  device.  Without  moral  individuality, 
the}'  revolve  after  the  flag  in  an  indiscriminate  herd. 

58.  the  great  refusal.  This  is  usually  referred  to  Pope  Celestine 
V,  elected  in  1294.  He  was  eighty  years  old,  and  was  living  the 
life  of  a  hermit  in  the  Abruzzi.  He  became  wear>'  of  his  honors,  and 
abdicated  before  the  end  of  his  first  year,  through  the  contrivance, 
as  was  currently  believed,  of  Benedetto  Gaetani,  who   succeeded 


NOTES  197 

him  as  Boniface  VIII.  (See  Inf.  xix,  56.)  Boniface  committed 
him  to  prison,  where  he  died  in  1296.  To  Dante,  with  his  views 
of  the  Church  and  of  the  sacredness  of  the  papal  office,  Celestine's 
abdication  was  an  act  of  treachery  to  mankind.  Authorities, 
however,  are  not  unanimous  as  to  the  reference  to  Celestine.  Some 
think  it  is  Esau,  who  sold  his  birthright;  others  the  Emperor  Dio- 
cletian who  abdicated  his  throne  in  his  old  age;  others  again  Vieri 
de'  Cerchi,  the  feeble  leader  of  the  "White"  party  in  Florence.  It 
is  not  possible  to  settle  the  matter  decisively.  Dante  evidently 
intended  the  shade  to  remain  unknown.  '  If  Dante  had  Celestine 
in  mind,  it  will  be  noticed  that  he  puts  him  into  Hell  although  he 
was  canonized  in  1313;  but  the  decree  of  canonization  was  not 
issued  until  seven  years  after  Dante's  death. 

67.  a  crowd  upon  the  bank.  The  following  description  is  drawn 
mainly  from  Aen.  vi,  295  ff. 

71.  So  ready.     Comp.  Aen.  vi,  313-314,  and  see  11.  124-125. 

86.  by  other  ports.  The  port  for  the  crossing  to  Purgatory,  at 
the  mouth  of  the  Tiber.  Purg.  ii,  99-101.  Charon  means  that 
Dante's  proper  route  was  by  way  of  Purgatory,  since  he  was  not  a 
condemned  soul. 

104.  tries  to  sit.  This  is  often  translated  "lags  behind,"  or 
"delays."  But  the  spirits  are  said  (1.  71)  to  be  eager  to  cross, 
and  Charon  appears  to  have  remained  in  the  boat.  The  word  may 
mean  "to  sit  down,"  "to  rest  one's  self;"  and  Mr.  Vernon  says 
that  the  expression  is  quite  common  in  Tuscany.  The  spirits 
were  weary  (1.  95),  and  were  trying  to  sit  down  at  ease  or  to  lounge 
in  the  boat. 

106.  detach  themselves.  Lit.,  "lift  themselves."  Very  beauti- 
fully describing  the  leaves  as  they  detach  themselves,  one  by  one, 
from  the  branches.  Ruskin  says:  "When  Dante  describes 
the  spirits  falling  from  the  bank  of  Acheron  as  dead  leaves  from 
a  bough,  he  gives  the  most  perfect  image  possible  of  their  utter 
lightness,  feebleness,  passiveness,  and  scattering  agony  of  despair." 
Comp.  Aen.  vi,  309. 

107.  sees — upon  the  ground.  The  correct  reading  here  is  vede, 
"sees,"  not  rende,  "yields  up."  The  image  is  beautiful  of  the 
stripped  branch  looking  down  upon  its  leaves  scattered  on  the 
ground. 

120.  complain  of  thee.  Charon  is  annoyed  at  the  admission 
into  Hell  of  an  uncondemned  soul.  Therefore  his  complaint  at 
Dante's  presence  imports  that  Dante  is  a  "  good  soul." 

124.  the  tearful  land.      Generally,  the  land  of  woe  and  tears,  x 
Others :  * '  bathed  with  the  tears  of  the  damned. ' ' 

125.  flashed.  The  expression  is  novel:  "the  wind  flashed  forth 
a  crimson  light."  Dickens,  in  "Our  Mutual  Friend,"  writes: 
"The  light  snowfall  was  falling  white,  while  the  wind  blew  black.'' 

127.  I  fell.  Dante  does  not  cross  the  stream  in  Charon's  boat, 
but  is  mysteriously  transported  to  Limbo  during  his  swoon. 


198  THE  DIVINE  COMEDY 


CANTO  IV 

1.  Thunder.  The  collected  sound  of  the  lamentations  of  Hell. 
See  1.  8. 

12.  world  obscure.  Lit.,  "blind  world."  The  world  of  those 
deprived  of  the  light  of  God  and  of  reason. 

20.  the  pity.  Or  "distress."  But  Comp.  Inf.  xx,  29-31,  where 
Vergil  exhibits  a  quite  different  feeling. 

-^  23.  the  first  circle.  Here  dwell  the  virtuous  heathen  and  the 
unbaptized  infants.  This  is  the  logical  outcome  of  Dante's  view 
that  outside  of  the  Church  is  no  salvation.  He  says  (De  Mon.  ii, 
8,  28):  "No  one,  however  perfect  he  may  be  in  moral  and  in- 
tellectual virtues,  both  in  habit  and  in  action,  can  be  saved  without 
0aith,  it  being  supposed  that  he  never  heard  of  Christ.  Comp. 
l*ar.  xix,  70-84,  xxxii,  76-84.  The  innocence  of  infants  and  the 
virtue  of  good  Pagans  are  recognized  only  by  exemption  from 
physical  torment.  The  only  suffering  is  that  of  eternal  and  hope- 
less longing.  This  is  strictly  according  to  Aquinas,  who  declares 
that  in  Limbo  there  is  no  pain  of  sense,  but  only  the  pain  of  loss. 
Vergil  himself  is  a  tenant  of  this  circle  (1.  38,  and  Purg.  vii,  22-38). 
It  was  beheved  that  the  Patriarchs  were  formerly  there,  but  that 
they  were  released  at  the  time  of  Christ's  descent  into  Hades. 
Hence  the  Schoolmen  divided  Limbo  into  the  Limbo  of  the  Fathers 
and  the  Limbo  of  Infants.  Dante  is  not  uniformly  strict  or  con- 
sistent in  his  application  of  this  doctrine,  as  appears  in  the  cases 
of  Cato  of  Utica  (Purg.  i),  Trajan  (Purg.  x),  and  Rhipeus  (Par. 
xx),  which  wiU  be  considered  in  their  places. 

25.  sighs.     Comp.  Purg.  vii,  32. 

41.  great  grief.  Dante  is  profoundly  moved  by  this  condition. 
See  especially  the  touching  passage,  Purg.  iii,  35  ff.  Sir  Thomas 
Browne  remarks :  "  It  is  hard  to  place  those  souls  in  Hell  whose 
worthy  lives  do  teach  us  virtue  on  earth ;  methinks  among  those 
many  subdivisions  of  HeU  there  might  have  been  one  Limbo  left 
for  these"  ("  Religio  Medici,"  liv). 

53.  a  mighty  one.    The  name  of  Christ  is  not  uttered  in  Hell. 

64.  the  wood.     The  throng  of  spirits. 

66.  from  where  I  slumbered.  The  entrance  to  the  first  circle, 
where  he  awoke  from  his  swoon  (see  1.  1).  The  correct  reading 
is  sonno,  * '  slumber, '  *  not  sommo,  * '  summit. ' ' 

67,  68.  a  hemisphere  of  darkness.  The  hemisphere  is  the  half 
of  the  dark  circle  in  which  they  were,  the  darkness  of  which  the 
light  overpowered. 

71.  who  dost  adorn.  Or  "honorest."  Variations  are  sovmded 
on  the  word  orior  in  the  succeeding  lines. 

80.  was  departed.     On  his  mission  to  rescue  Dante. 

86.  Homer.  With  a  sword,  as  the  poet  of  the  Iliad,  the  war- 
like epic.  Dante  knew  little  or  no  Greek,  and  there  were  no  Latin 
translations  of  Homer,  so  that  his  acquaintance  with  the  bard 
was  through  the  citations  of  Aristotle,  and,  in  one  case,  through 


NOTES  199 


Horace's  translation  of  the  opening  lines  of  the  Odyssey  in  his 
'  'Art  of  Poetry. ' '    (See  Conv.  iv,  20,  2  ;  De  Mon.  iii,  6  ;  V.  N.  xxv.) 

87.  Horace,  moralist.  Horace,  B.C.  65-68.  ''Moralist,"  not 
"Satirist,"  since  Dante  shows  no  acquaintance  with  Horace's 
Satires,  and,  indeed,  does  not  seem  to  have  known  much  more  of 
his  writings  than  the  ' '  De  Arte  Poetica. ' ' 

88.  Ovid.  B.C.  43.  A.D.  17.  Dante  was  well  acquainted  with  his 
''Metamorphoses,"  which  are  his  principal  mythological  authority. 

Lucan.  A  Roman  poet,  A.D.  39-65.  Known  by  his  "Phar- 
salia,"  an  epic  in  ten  books  on  the  civil  war  between  Pompey 
and  Caesar.  Dante  draws  from  him  many  historical  and  some 
mythological  allusions,  and  appears  to  have  studied  him  almost 
as  carefully  as  he  had  studied  Vergil.  Statins,  who  was  also  one 
of  Dante's  favorites,  first  appears  in  the  Purgatorio.  Of  these 
poets  Vergil  is  quoted,  referred  to,  or  imitated  in  the  Commedia  about 
two  hundred  times,  Ovid  about  one  hundred,  Lucan  fifty,  and 
Statins  thirty  or  forty. 

91.  those  lords  of  loftiest  song.  The  five  poets.  Some  read 
"that  lord,"  referring  to  Homer;  but  neither  Horace  nor  Ovid 
could  be  classed  in  the  school  of  Homer. 

99.  was  the  sixth  Dante  is  not  modest  in  asserting  his  own 
merits  as  a  poet.     Comp.  Inf.  i,  83-84. 

103.  a  grand  castle.  A  symbol  of  human  science.  The  seven  i 
walls  represent  the  seven  virtues:  Prudence,  Justice,  Courage,  / 
Temperance,  Knowledge,  Intelligence,  and  Wisdom.  The  river/ 
is  Eloquence,  by  which  the  seven  virtues  are  lauded  and  appeal  to  I 
men.     The  seven  gates  are  the  seven  sciences.  ' 

107.  a  mead.     From  Vergil,  Aen.  vi,  638  £f. 

109.  deliberate  and  grave.  Comp.  the  description  of  Sordello, 
Purg.  vi,  65. 

115.  Enamel.  Strictly,  glass  fused  with  protoxide  of  cobalt, 
and  used  for  ornamenting  porcelain  and  earthenware,  being  spread 
on  while  moist,  and  afterward  hardened  by  fire.  Ruskin  thinks 
that  in  applying  this  term  to  the  grass  of  the  Inferno,  Dante  means 
to  mark  "that  it  is  laid  as  a  tempering  and  cooling  substance 
over  the  dark,  inelastic,  gloomy  ground,  yet  so  hardened  by  fire 
that  it  is  not  any  more  fresh  or  living  grass,  but  a  smooth,  silent, 
lifeless  bed  of  eternal  green."  In  1.  107-108,  however,  he  speaks  of 
a  meadow  of  "fresh  verdure."  The  simile  must  not  be  pressed. 
Dante  evidently  means  to  describe  a  smooth,  green  surface;  and  as 
the  place  was  "luminous,"  the  light  may  have  imparted  to  it  a 
metallic  glister.  See  also  Purg.  viii,  116,  where  the  word  smalto 
"enamel,"  can  apply  only  to  the  green,  flowery  meadow  at  the 
summit  of  Purgatory. 

118.  Electra.     Not  the  heroine  of  Sophocles  and  Euripides,  the 
sister  of  Orestes,  but  the  mother  of  Dardanus  the  founder  of  Troy. 
See,  Aen.  viii,  134  ff.  and  comp.  De  Mon.  ii,  3. 
•121.  CamiUa.     See  Inf.  i,  104,  note. 

Penthesilea.  Queen  of  the  Amazons,  who  came  to  the  assistance 
of  the  Trojans  after  the  death  of  Hector,  and  was  slain  by  Achilles. 
See  Aen.  i,  490-493. 


200  THE  DIVINE  COMEDY 

123.  Latinus.  King  of  Latium,  and  father  of  Lavinia,  whom 
he  bestowed  on  Aeneas,  although  she  had  been  promised  to 
Tumus. 

124.  Brutus.  Lucius  Junius,  nephew  of  Tarquinius  Superbus, 
After  the  outrage  upon  Lucretia  by  Sextus  Tarquinius,  he  xoused 
the  Romans  to  expel  the  Tarquins. 

125.  Lucretia.  Wife  of  CoUatinus  and  victim  of  Sextus  Tar- 
quinius.    She  stabbed  herself  to  expiate  her  dishonor. 

Julia.     Daughter  of  Julius  Caesar  and  wife  of  Pompey. 

Marcia.     Wife  of  Cato  of  Utica.     See  Purg.  i,  82  ff. 

Cornelia.  Daughter  of  Scipio  Africanus  Major,  and  wife  of 
Tiberius  Sempronius  Gracchus.  The  mother  of  the  Gracchi,  Ti- 
berius and  Caius.  On  the  death  of  her  sons  she  declared  that  she 
who  had  borne  them  could  never  deem  herself  unhappy. 

126.  Saladin.  He  stands  alone,  apart,  because  he  is  of  a  remote 
race  and  country.     See  a  similar  instance,  Inf.  xii,  121. 

128.  Master  of  those  who  know.  Aristotle.  He  was  the  oracle 
of  the  Middle  Ages,  and  his  writings,  through  the  agency  of  the 
Schoolmen,  were  almost  aU  that  saved  Europe  from  utter  barbarism. 
The  Arabians,  about  813  A.D.,  began  to  translate  his  works,  which 
were  brought  by  the  Saracens  to  the  knowledge  of  Western  Europe 
through  the  medium  of  Latin  translations  from  the  Arabic.  He 
passed  into  the  thought  and  writings  of  the  Schoolmen  of  the 
thirteenth  century,  during  which  the  scholastic  theology  reached 
its  highest  development.  Albertus  Magnus,  Bonaventura  and 
Aquinas  were  imbued  with  his  philosophy,  and  his  philosophical 
system,  as  modified  by  them,  lies  at  the  basis  of  the  Catholic  theology 
of  to-day.  It  was  not  until  the  Renaissance  restored  to  Europe  the 
knowledge  of  Plato,  that  the  popularity  of  Aristotle  declined. 
For  Dante,  Aristotle  is  the  master  and  philosopher.  He  calls 
him  "the  master  of  human  reason;"  **  the  master  of  our  life;" 
"the  master  of  the  wise."  His  knowledge  of  his  writings  was 
extensive  and  thorough.  He  was  acquainted,  and  often  intimately, 
with  most  of  his  works,  although  he  had  access  to  them  only  through 
Latin  translations.  In  everj"^  department  of  Dante's  large  knowl- 
edge, the  foundations  are  laid  upon  Aristotle.  From  Aristotle 
comes  his  whole  system  of  Physics,  Physiolog>',  and  Meteorology. 

131.  Plato.  Dante  had  a  very  limited  knowledge  of  Plato, 
confined  mainly  to  one  dialogue — the  "Timaeus,"  which  was  trans- 
lated into  Latin  in  the  fifth  century.  Until  the  end  of  the  twelfth 
century,  aU  knowledge  of  Plato  was  limited  to  this  one  work. 

133.  Democritus.  A  Greek  philosopher,  B.C.  460-361.  The 
originator  of  the  atomic  theory  of  creation,  that  the  world  was 
formed  by  a  fortuitous  aggregation  of  atoms.  Dante  alludes  to 
his  slovenly  personal  habits:  Conv.  iii,  14,  3. 

134.  Diogenes.  The  CjTiic  philosopher,  B.C.  412-323.  He  dis- 
tinguished himself  by  his  contempt  of  riches  and  honors,  exercising 
the  most  rigid  abstinence  and  wearing  the  coarsest  and  cheapest 
clothes.     The  story  of  his  liviag  in  a  tub  has  little  foundation. 

Anazagoras.  500  B.C.  One  of  the  earliest  of  the  Greek  philoso- 
phers.     He  made  the  first  real  advance  toward  the  recognition 


NOTES  201 

of  a  spiritual  principle  or  reason  as  the  evolver  of  an  orderly  world 
out  of  chaos. 

135.  Thales.  An  Ionic  philosopher  of  Miletus,  B.C.  636.  One 
of  the  founders  of  the  systematic  study  of  mathematics  and  phi- 
losophy in  Greece.  He  held  that  water  was  the  elemental  prin- 
ciple of  aU  things. 

Zeno.  Founder  of  the  Stoic  school  of  philosophy,  about  the 
end  of  the  fourth  century  B.C.  His  pupils  were  called  Stoics  be- 
cause they  assembled  in  the  Painted  Porch  (stoa)  of  Polygnotus. 

Empedocles.  A  philosopher  of  Sicily,  B.C.  450.  He  was  said 
to  have  thrown  himself  into  the  crater  of  Aetna,  in  order  that, 
by  his  disappearance,  he  might  be  taken  for  a  god. 

136.  Heraclitus.  A  Greek  philosopher  of  Ephesus,  B.C.  510. 
He  held  that  fire  was  the  primary  form  of  all  matter. 

137.  gatherer  of  qualities.  Dioscorides  of  Cilicia,  a  Greek  phy- 
sician of  the  first  century  A.D.  He  collected  information  on  the 
medicinal  qualities  of  plants,  and  wrote  a  work  on  that  subject. 

138.  Orpheus.  A  mythical  poet  of  Greece  who  was  said  to  move 
rocks  and  trees  by  the  music  of  his  lyre.  He  accompanied  the 
Argonauts  on  their  voyage  in  quest  of  the  golden  fleece.  The 
story  of  his  descent  to  Hell  to  recover  his  dead  wife,  Eurydice,  is 
familiar. 

TuUy.  Marcus  Tullius  Cicero.  Dante  frequently  quotes  or 
derives  his  matter  from  him.  He  shows  little  or  no  familiarity 
with  Cicero's  Orations,  and  draws  mostly  on  three  treatises,  the 
"De  Officiis,"  the  "De  Senectute,"  and  the  *'De  Amicitia." 
The  passages  used  are  found  mostly  in  Dante's  prose  works. 

Seneca.  Dante  shared  the  mediaeval  error  that  Seneca  the 
moralist  and  Seneca  the  writer  of  tragedies  were  different  persons. 
He  adds  the  epithet  "moral"  in  order  to  designate  Lucius  An- 
nacus  Seneca  (B.C.  4-A,D.  65),  who  was  Aero's  tutor,  and  who 
committed  suicide  by  that  Emperor's  command.  He  was  the 
author  of  numerous  philosophical  works,  and  of  tragedies,  nine  of 
which  are  extant. 

139.  Linus.     A  mythical  Greek  poet,  a  son  of  Apollo  by  a  Muse. 
Euclid.     A  Greek  mathematician  of  Alexandria,  B.C.  300. 

140.  Galen.  A  celebrated  physician  of  Asia,  A.D.  130-200. 
He  acquired  great  renown  at  Rome  as  physician  to  several  of  the 
Emperors.  He  left  many  works  on  medical  and  philosophical 
subjects. 

Ptolemy.     See  Introduction  under  "Dante's  Cosmogony." 
Hippocrates.     Of  Cos,  B.C.  460.     The  Father  of  Medicine. 

141.  Avicenna.  An  Arabian  philosopher  and  physician  of 
Ispahan,  A.D.  980-1037.  He  wrote  commentaries  on  Aristotle, 
and  condensed,  arranged,  and  commented  upon  the  writings  of 
Galen. 

Averroes.  A  distinguished  Arabian  scholar  of  the  twelfth  cen- 
tury, and  the  most  eminent  commentator  on  Aristotle.  He  was 
both  a  physician  and  a  lawyer. 

148.  that  trembles.  With  the  blowing  of  the  hurricane  in  the 
next  circle. 


202  THE  DIVINE  COMEDY 


CANTO  V 

This  is  the  first  circle  of  the  Incontinent. 

4.  Minos.  Son  of  Zeus  and  Europa,  and  king  of  Crete.  His 
brother  was  Rhadamanthus.  The  two  brothers  were  appointed 
judges  in  the  lower  world,  along  with  Aeacus,  the  son  of  Zeus  and 
Aegina.  Aeacus  does  not  appear  in  the  Aeneid,  Minos  is  described 
in  Aen.  vi,  431-433,  and  Rhadamanthus  in  Aen.  xi,  566-572.  Neither 
Aeacus  nor  Rhadamanthus  appear  in  the  Commedia.  Dante's 
^linos  combines  Vergil's  accounts  of  Minos  and  Rhadamanthus. 
v/From  the  description  of  Minos  Dante  takes  the  position  at  tlie  en- 
trance and  the  function  of  judgment.  From  that  of  Rhadamanthus 
the  enforced  confession  and  the  sup)erS'ision  of  the  punishment. 
^The  anomalous  tail  of  Minos  is  an  invention  of  Dante,  and  Dante 
has  substituted  a  si:iarling  fiend  for  the  calm  and  dignified  Minos 
of  Vergil.  The  change  Is'  due  to  the  Christian  opinion  that  the 
Pagan  deities  were  devils.     See  1  Cor.  x,  20. 

17.  inn.     Ironical.     A  place  of  entertainment. 

23.  also.     As  Charon  cried  out  at  us. 

29,  30.  of  every  light  deprived.  Lit.,  "mute  of  all  light."  Comp. 
note  on  Inf.  i,  58.  The  darkness  synnbolizes  the  blinding  influ- 
ence of  carnal  passion. 

33.  sweep.  The  furious  motion  or  rush.  The  term  is  used  of 
the  movement  of  the  Primiun  Mobile,  in  Conv.  ii,  6,  7. 

35.  rush.  Often  explained  as  "the  precipice,"  or  descent 
into  the  second  circle  from  the  point  where  Minos  sits.  Rather 
it  means  "the  stress"  of  the  hurricane.  Dante  says  :  "When 
they  come  within  range  of  the  blast." 

36.  they  curse.  Aquinas  specifies  hatred  of  God  as  one  of  the 
effects  of  carnal  lust. 

37.  I  understood.  Either  hearing  it  from  Vergil,  or  inferrii^ 
it  from  the  character  of  the  punishment, 

45.  the  cranes.  Aen.  x,  264-266 ;  Hom.  II.  iii,  2-6.  The  simile 
of  the  starlings  illustrates  the  rushing  movement;  that  of  the 
cranes,  the  cries  of  the  spirits.     Comp.  Purg.  xxiv,  66  ff. ;  xxvi,  45  ff. 

46.  plaintive  cry.  The  word  lai  is  a  Provencal  term  for  a  mourn- 
ful song.  Comp,  Purg.  ix,  13.  The  not€  of  the  crane  is  sonorous 
and  trumpet-like,  owing  to  the  peculiar  formation  of  the  trachea. 

53.  Empress.  The  entire  passage,  53-60,  is  drawn  from  Orosius. 
See  Introduction  under  ' '  Dante's  Cosmogony. ' ' 

tongues.  Races  or  nations,  although  Philalethes  suggests  an 
allusion  to  the  confusion  of  tongues  at  Babel,  since  Babylon  was 
a  part  of  the  Assyrian  empire.     Improbable  and  fanciful. 

55,  56.  lust  she  made  legitimate.  Mr.  Toynbee  aptly  cites  Chaucer, 
"Monk's  Tale,"  366-367. 

"  His  lustes  were  all  awe  in  his  decree." 

57.  Semiramis.  Queen  of  Assyria,  and  wife  and  successor  of 
Ninus,  the  mythical  founder  of  the  empire  of  Nineveh, 

58,  we  read.  In  Orosius,  according  to  Dante's  own  statement, 
De  Mon.  ii,  9. 


NOTES  203 

60.  the  Sultan  rules.  In  the  geography  of  Dante's  time  Egypt 
was  included  in  Asia.  Moreover,  the  name  Babylon  was  given  to 
old  Cairo,  as  well  as  to  the  city  on  the  Euphrates.  Dante  either 
confused  the  Babylon  of  Semiramis  with  that  in  Egypt,  or  thought 
that  the  empire  of  Semiramis  extended  to  Egypt,  which  is  more 
probable. 

61.  enamored  slew  herself.  Dido,  who  destroyed  herself  when 
abandoned  by  Aeneas.     Aen.  iv,  630-665. 

62.  broke  faith.  Comp.  Aen.  iv,  552.  Becoming  enamored 
of  Aeneas,  she  forgot  her  vow  to  remain  faithful  to  the  memory  of 
Sichaeus,  her  former  husband.  See  Aen.  i,  343  fif.  As  a  suicide, 
Dido  would  appear  to  belong  to  the  seventh  circle;  but  she  is  pun- 
ished only  for  incontinence.  In  Vergil's  Hell  there  is  a  place  for 
suicides  (Aen.  vi,  434-436),  and  also  a  place  for  ill-fated  lovers  (Aen. 
vi,  450).  Dante's  more  lenient  treatment  may  be  due  in  part 
to  Dido's  association  with  the  founder  of  the  Roman  Empire. 

63.  Cleopatra.  Queen  of  Egypt,  and  mistress  of  Julius  Caesar 
and  Mark  Antony.     She  is  mentioned  again  in  Par.  vi,  76-78. 

Helen.  The  famous  Helen  of  Troy,  the  wife  of  Menelaus,  se- 
duced by  Paris,  and  the  cause  of  the  Trojan  war. 

64.  so  long  a  time.     The  ten  years  of  the  Trojan  war. 

65.  Achilles.     The  principal  hero  of  the  Greeks  in  the  Trojan  war. 
with  love  allied.  According  to  the  Homeric  story  Achilles  was  killed 

before  Troy.  Dante  follows  the  mediaeval  account,  that  he  was 
treacherously  slain  in  the  temple  of  Apollo  at  Troy,  to  which  he  had 
repaired  to  meet  Polyxena  who  had  been  promised  to  him  in  mar- 
riage if  he  would  embrace  the  Trojan  cause.  Thus  Achilles,  though 
ready  to  change  sides  in  war,  fought  to  the  end  on  the  side  of  love. 
Dante  found  the  story  in  Servius's  Commentary  on  Vergil.  See 
note  on  Inf.  i,  76.  "In  this  pregnant  sentence  Dante  sounded 
the  whole  depth  of  the  Iliad.  .  .  .  Two  passions — heroic  anger  and 
measureless  love — in  the  breast  of  the  chief  actor  are  the  motive 
forces  of  the  poem." — J.  A.  Symonds,  "Greek  Poets." 

67.  Paris.  There  is  some  question  whether  Dante  refers  to 
Paris  the  son  of  Priam,  or  to  the  Paris  of  mediaeval  romance.  The 
coupling  of  his  name  with  that  of  Tristan  might  suggest  the  latter. 
But  it  is  not  uncommon  to  find  the  name  of  Paris  of  Troy  associated 
with  that  of  Tristan  in  the  literature  of  the  thirteenth  and  fourteenth 
centuries.  The  reference  is  clearly  to  Paris  of  Troy,  the  son  of 
Priam  and  the  seducer  of  Helen. 

Tristan.  Of  Lyonesse.  The  story  of  Tristan  and  Isolde  or 
Yseult  is  familiar, 

80.  Soon  as  the  wind,  etc.  Note  the  consummate  art  with  which 
Dante,  throughout  the  whole  of  the  following  interview,  keeps  the 
reader  continually  conscious  of  the  blowing  of  the  wind. 

84.  doves.  Drawn  from  Aen.  vi,  213-217;  comp.  vi,  190-203. 
Lowell  says:  "This  simUe  is  perhaps  the  most  exquisite  in  all 
poetry."     Shelley  imitates  it  in  "Prometheus  Unbound." 

"  Come,  as  two  doves  to  one  beloved  nest, 
Twin  nurslings  of  the  all-sustaining  air, 
On  swift,  still  wings  glide  down  the  atmosphere." 


204  THE  DIVINE  COMEDY 

longing.    Afifection  for  their  home  and  offspring. 

85-  by  their  own  will.  Without  seeming  to  use  any  means 
of  propulsion.  ''The  comparison  of  the  flight  of  the  dove  is  used 
for  a  very  different  purpose  in  Vergil.  To  it  is  likened  a  ship  which, 
having  run  upon  a  rock,  is  thrust  off  first  into  the  troubled  waters, 
and  then  floats  as  smoothly  over  the  op)en  sea  as  the  gliding  flight 
of  the  dove.  Dante  has  gone  beyond  the  superficial  similarity 
of  the  outward  action,  and  has  brought  in  all  the  beautiful  and 
tender  feelings  suggested  by  the  homeward  flight  of  the  doves.  .  .  . 
One  feels  that,  beautiful  as  the  Vergilian  passage  is  in  its  way,  the 
resemblance  of  the  things  compared  in  Dant€  is  much  fuller,  deeper, 
and  more  appropriate." — Dr.  E.  Moore,  "Studies  in  Dante,"  i,  185. 

90.  black.  Lit.,  ' '  perse. ' '  Dante  says  (Conv.  iv,  20, 1) :  "  Perse 
is  a  color  composed  of  purple  and  black;  but  the  black  predom- 
inates. ' ' 

98.  the  town.  Ravenna,  on  the  Adriatic.  It  was  originally 
only  a  mile  from  the  coast.  Its  suburb,  Classis,  was  an  important 
harbor  in  the  time  of  Augustus,  being  one  of  the  two  chief  stations 
of  the  Roman  fleet.  Classis  was  at  that  time  a  large  town,  but  the 
site  is  now  a  dreary  marsh,  and  the  only  remaining  relic  is  the 
venerable  church  of  S.  ApoUinare  in  Classe  of  the  sixth  century, 
where  the  floor  is  green  with  the  slime  of  the  marsh,  and  the  water 
sometimes  fills  the  crypt  under  the  high  altar.  Ravenna  is  now 
five  miles  from  the  sea.  It  was  the  seat  of  the  Emperors  of  the 
West,  and  after  the  fall  of  the  W^estem  Empire  was  the  capital  of 
Theodoric,  the  king  of  the  Ostrogoths.  Later  it  was  the  residence 
of  the  Exarchs  of  the  Byzantine  Empire  in  Italy.  It  was  Dante's 
residence  in  his  later  life,  and  there  he  died  and  is  buried. 

99.  I  was  bom.  Francesca  da  Rimini  the  subject  of  this  epi- 
sode was  the  daughter  of  Guido  Vecchio  da  Polenta,  Lord  of  Ra- 
venna (see  Inf.  xxvii,  42).  About  1275  she  married  Gianciotto, 
the  second  son  of  Malatesta  da  Verruchio,  Lord  of  Rimini.  She 
fell  in  love  with  his  younger  brother,  Paolo,  and  Gianciotto,  having 
surprised  them  in  their  intrigue,  killed  them  both. 

100.  with  his  attendant  streams.  In  all  the  upper  part  of  its 
course  the  Po  receives  a  multitude  of  affluents — the  T^sin,  the  Adda, 
the  Oglio,  the  Mincio,  the  Trebbia,  the  Bormida,  and  the  Taro. 

104.  a  mischief  is  to  me.  Because  I  still  suffer  the  consequences 
of  it  in  Hell,  and  it  has  left  a  reproach  attached  to  my  name. 

108.  Caina.  The  round  of  the  ninth  circle  where  treachery 
to  relations  is  punished. 

123.  There  is  no  greater  pain,  etc.  "Fortune  lays  the  plot  of 
our  adversities  in  the  foundation  of  our  felicities,  blessing  us  in  the 
first  quadrate,  to  blast  us  more  sharply  in  the  last.  .  .  .  Affec- 
tion smarts  most  in  the  most  happy  state. ' '  Sir  Thomas  Browne, 
"Christian  Morals." 

"  For  of  fortunes  sharp  adversitee 
The  worst  kinde  of  infortune  is  this, 
A  man  to  have  been  in  prosi>eritee, 
And  it  remembren,  whan  it  passed  is." 

Chaucer,  "  Troilus  and  Criseyde,"  B.  iii,  1625  ff. 


NOTES  205 

125.  this  thy  teacher  knows.  Vergil,  not  Boethius;  but  it  is 
impossible  to  say  what  experience  is  referred  to, 

129.  Launcelot.  Launcelot  of  the  Lake,  the  lover  of  Guinevere 
at  King  Arthur's  court.  The  romance  was  a  favorite  one  in  Dante's 
time.  The  Arthurian  tales  had  begun  to  supersede,  in  the  twelfth 
century,  the  previous  legends  of  Charlemagne,  as  being  better 
suited  to  a  more  refined  feudal  civilization.  They  appealed  es- 
pecially to  the  nobles  of  Northern  Italy. 

137.  Galeotto.  In  the  Romance  of  Launcelot,  Gallehault,  a 
knight,  and  a  friend  of  Launcelot,  arranged  a  secret  meeting  be- 
tween him  and  Guinevere.  See  Par.  xvi,  13-15.  So  Francesca 
says  that  the  story  which  she  and  Paolo  were  reading  together, 
played  the  part  of  Gallehault  or  uitermediary, 


CANTO  VI 

1.  On  the  return  of  sense.    Dante  is  conveyed  into  the  third 
X  circle  while  still  unconscious. 

was  shut  up.     Comp.  Purg.  xxxi,  88,  and  see  note. 

2.  kinsfolk.     Francesca's  lover  was  her  husband's  brother, 

8.  the  same  in  rule  and  quality.     It  does  not  come  in  gusts,  but 

Eours  without  intermission,  unlike  showers  on  earth,  and  is  always 
eavy  and  cold. 

9.  water  foul.  Dirty  water;  although  one  of  the  early  com- 
mentators says  that  it  is  a  local  phrase  in  Tuscany  for  a  cold  rain. 
Comp.  1.  105. 

11.  Cerberus.    Aen.  vi,  417  ff. 

12.  prodigious.  Strange,  monstrous.  Cerberus,  as  here  por- 
trayed, is  a  fitting  symbol  of  voracity.^ 

20,  impious.  The  Italian  word  is  profani.  Comp.  Heb.  xii,  16, 
where  Esau  is  called  a  "profane  person,"  because  he  parted  with  his 
birthright  in  order  to  gratify  his  appetite.  See  also  Phil,  iii,  19: 
"Whose  god  is  their  belly." 

worm.  A  general  term  for  any  disgusting  creature.  It  is 
applied  to  Lucifer,  Inf.  xxxiv,  107. 

24.  caught  up  earth.  In  the  Aeneid,  the  Sibyl  throws  Cerberus 
a  medicated  cake  which  puts  him  to  sleep.     Aen.  vi,  419. 

34.  emptiness.    Comp.  Purg.  ii,  77  ;  xxi,  143. 

40.  thou  wast  made.  Dante  was  bom  in  1265 ;  Ciacco  died  in 
1286. 

49.  envy.     The  principal  cause  of  the  Florentine  factions. 

51.  where  shines  the  light.  Suggested  by  the  contrast  with 
the  gloomy  atmosphere  in  which  the  gluttons  are  punished.  Often 
in  the  Inferno  a  single  adjective  expresses  the  bitter  contrast  with 
the  cheering,  stirring  life  of  the  upper  world.  See  Inf.  vi,  92; 
vii,  57  ;  x,  83  ;  xv,  49,  57. 

53.  Ciacco.  A  nickname  meaning  *'pig."  Though  a  notori- 
ous glutton,  he  is  described  as  a  man  of  good  ability  and  breeding. 

59.  so  burdens  me.    Dante   is   compassionate   here.    His   dis- 


206  THE  DIVINE  COMEDY 

gust  for  the  sin  is  shown  by  the  punishment  he  assigns  it.  See 
Introductory  Note  on  Inf.  iii. 

62.  the  divided  city.  The  party  struggles  of  Florence  were 
twofold.  One  was  Italian  and  included  Florence,  the  other  was 
Florentine.  The  more  comprehensive  party-division  was  that 
of  Guelf  and  Ghibelline:  the  local  division  was  that  of  Bianchi  and 
Neri,  or  Whites  and  Blacks.  The  names  Guelf  and  Ghibelline, 
as  applied  to  parties  in  Italj^  at  an  earUer  period  designated  parties 
in  Germany.  The  names  were  originally  the  family  names  of 
Welf  and  Waiblingen,  and  were  first  employed  as  battle-cries  at 
the  siege  of  Weinsberg  in  1140,  where  Count  WeK,  the  brother  of 
Henr}'  the  Proud,  was  besieged  by  the  adherents  of  the  house  of 
Hohenstaufen.  The  besieged  raised  the  cry  of  "Welf"  and  the 
besiegers  that  of  "Waiblingen,"  the  name  of  the  birthplace  of 
Frederick  of  Suabia.  These  names  were  converted  by  the  Italians 
into  GueKo  and  Ghibellino,  and  first  came  into  prominence  in 
Italy  in  the  Lombard  league  of  1167  against  the  Emperor  Barbarossa. 

It  is  commonly  said  that  the  GueSs  represented  the  Papacy  and 
the  Ghibellines  the  Empire;  but,  as  a  fact,  papal  and  imperial 
principles  play  a  secondary  part  in  the  conflict.  The  Guelfs  were 
the  popular  and  democratic  party,  represented  by  the  burgher- 
class  and  the  trades-guilds,  and  standing  for  mimicipal  freedom. 
The  Ghibellines  represented  the  territorial  aristocracy,  the  natural- 
ized nobles,  and  the  idle  and  licentious  soldiery.  The  Guelf  was 
papal,  because  he  regarded  the  Pope  (theoretically,  at  least)  as 
standing  for  Christ  as  the  preacher  of  equality  and  of  the  best 
social  condition  for  mankind.  The  Pope,  in  his  turn,  "naturally 
jealous  of  a  strong  territorial  power,  encouraged  the  cities  in  their 
resistance  to  imperial  pretensions,  while  he  and  the  merchant- 
bankers  of  Florence  were  indispensable  to  each  other  in  the  way 
of  business."  The  Ghibelline  was  a  feudalist,  and  the  Emperor 
or  King  was  the  necessary-  and  first  factor  of  feudalism,  and  the  only 
possible  backer  of  the  claims  of  the  magnates,  whom,  in  turn,  he 
could  use  in  any  attempt  to  assert  his  power  over  the  cities.  Neither 
Pope  nor  Emperor  had  any  real  sj-mpathy  with  the  aims  of  either 
party.  The  real  issue,  in  short,  was  between  the  mercantile  de- 
mocracy of  the  city  and  the  milita,r>'^  and  territorial  aristocracy. 

These  elements,  which  had  long  been  held  in  solution  in  Italian 
society,  were  cr5'stallized  in  1215  by  a  feud  between  the  Florentine 
families  of  Buondelmonte  and  Amidei,  growing  out  of  young  Buon- 
delmonte's  breaking  his  marriage  engagement  with  a  lady  of  the 
Amidei  family  and  marr^^ing  another.  Buondelmonte  was  mur- 
dered by  the  Amidei,  and  all  Florence  became  divided  into  two 
parties,  the  Guelfs  under  Buondelmonte  and  the  Ghibellines  sup- 
ported by  the  Amidei. 

Dante  himself  was  originally  a  Guelf,  but  cannot  be  permanently 
identified  with  either  party.  The  Commedia  furnishes  not  a  few 
e^'idences  of  his  impartial  dealing  with  representatives  of  either 
side,  and  he  says  equally  hard  things  of  both.  The  second  and 
third  books  of  the  De  Monarchia  and  the  later  cantos  of  the  Purga- 
tory exhibit  Ghibelline  leanings.      His  Guelfism  gave  way  under 


NOTES  207 


the  policy  of  Boniface  VIII,  and  his  own  disappointment  in  the 
case  of  Henry  of  Luxemburg  ;  and  these  and  the  events  of  1311-1313 
threw  him  decidedly  on  the  imperial  side.  In  Par.  xvii,  68,  Caccia- 
guida,  Dante's  greai>-great-grandfather,  predicts  his  course,  and 
declares  that  the  atrocious  dealings  of  the  Whites  will  cause  him 
to  form  a  party  by  himself. 

The  Bianchi  and  Neri  (Whites  and  Blacks)  were  the  parties 
of  a  local  faction  which  originated  in  Pistoia  in  a  feud  between  two 
branches  of  the  Cancellieri  family,  which  assumed  respectively 
the  names  of  Cancellieri  Bianchi  and  Cancellieri  Neri.  The  quarrel 
drew  into  itself  the  whole  of  Pistoia,  and  resulted  in  a  civU  war, 
in  which  the  Florentines  intervened,  and  thereby  transferred 
it  to  their  own  city,  where  the  opposite  sides  were  espoused  by 
two  rival  Florentine  families,  the  Donati  (Blacks)  and  the  Cerchi 
(Whites).  Both  sides  were  originally  Guelf  ;  but  the  Whites  finally 
deserted  to  the  Ghibellines.     Dante  was  identified  with  the  Whites. 

66.  will  come  to  blood.  The  first  blood  was  shed  May  1,  1300, 
in  a  scuffle  in  which  one  of  the  Cerchi  had  his  nose  cut  off.  The 
story  is  told  by  Villani,  Cron.  viii.  39. 

67.  the  rustic  party.  The  Bianchi.  So  called  because  of  the  rus- 
tic origin  and  boorish  ways  of  the  Cerchi,  who  were  new-comers  hi 
Florence.  Villani  says:  "They  were  uncultivated  and  ungracious 
people,  like  folk  come  in  a  short  time  to  great  estate  and  power." 

71.  tacking,  off  the  coast.  Boniface  VIII,  who  in  1300  pro- 
fessed neutrality  between  the  Bianchi  and  Neri,  and  in  1302  sup- 
ported Charles  of  Valois.  Others  think  the  reference  is  to  Charles, 
who  at  this  time  was  in  Flanders.  Villani  uses  the  word  "coasting" 
to   express   temporizing. 

75.  who  are  just.     Who  are  meant  is  unknown. 

81.  Farinata.    See  Inf.  x. 

81,  82.  Tegghiaio,  Rusticucci,  Mosca.    See  Inf.  xvi,  xxviii. 

89.  a  different  transgression.  From  that  which  is  punished  in 
this  circle. 

92,  93.  to  memory  of  men.  The  only  comfort  which  the  damned 
have  is  the  hope  that  their  memory  may  be  perpetuated  on  earth. 
See  Inf.  xiii,  77  ;  xv,  118-120.  Some,  however,  whose  crimes  have 
incurred  general  execration,  wish  to  remain  unremembered.  See 
Inf.  xviii,  47-58  ;  xxvii,  63-66,  and  the  traitors  in  the  ninth  circle. 

111.  thy  science.     The  Aristotelian  philosophy. 

116.  more  than  in  this  one.  After  the  final  trump  of  doom, 
because  they  will  then  possess  both  bodies  and  souls. 

119.  Plutus.  The  god  of  wealth  ;  the  guardian  of  the  fourth 
circle.  He  is  called  "the  great  Enemy,' '  because  of  the  evils  caused 
by  the  love  of  money.  See  1.  Tim.  vi,  10.  Others  think  the  refer- 
ence is  to  Pluto,  known  also  as  Dis  or  Hades,  the  god  of  the  nether 
world ;  but  Lucifer  is  called  Dis  in  Inf.  viii,  71 ;  xi,  70  ;  xii,  39  ; 
xxxiv,  20.  In  classical  authors  the  attributes  of  Plutus  are  oc- 
casionally given  to  Pluto.  The  name  Plutus  rarely  occurs  in  the 
classics,  and  could  not  have  been  well  known  to  mediaeval  writers. 
It  does  not  seem  likely  that  Dante  intended  to  use  "Pluto"  here 
in  the  usual  classical  senge  as  the  King  of  Hell. 


208  THE  DIVINE  COMEDY 


CANTO  VII 

The  fourth  circle  is  the  third  of  the  Incontinent.  It  must  be 
remembered  that  Incontinence  is  not  to  be  understood  merely  in 
the  narrow,  popular  sense  of  the  word,  as  unbridled  indulgence 
in  sensual  passion,  but  in  the  wide  sense  indicated  by  its  etymology, 
the  want  of  self-containment  or  control.  The  incontinent  yield 
to  impulse  without  restraint,  whether  the  impulse  is  to  sensual 
pleasure,  to  inordinate  eating  and  drinking,  to  anger,  or  to  acquiring 
or  spending  money.  Such  offences  differ  from  those  which  are 
deliberately  determined  and  practised,  and  their  punishment 
is  less  severe  than  that  of  deliberate  sins. 

I.  Pape  Satan,  etc.  Mere  brutal  gibberish.  Attempts  to  trans- 
late it,  which  have  been  numerous,  are  a  waste  of  ingenuity. 

II.  proud  rape.  The  revolt  of  the  rebel  angels  against  God. 
The  phrase  will  not  seem  strange  to  anyone  who  is  familiar  with 
the  scriptural  figures.  See  Jer.  iii,  8,  9 ;  Ezek.  xxiii,  37  ;  Mat. 
xii,  39  ;  Mark  viii,  38. 

12,  13.  sails — collapse.    What  a  picture  of  sudden  and  utter  col- 


1 6.  making  our  way  along,  etc.  Lit. , ' '  taking  more  of  the  bank. ' ' 
Going  farther  on. 

22.  Charybdis.  The  real  Charj^bdis  was  a  rock  between  Italy 
and  Sicil}'.  In  fable  it  was  the  abode  of  Charybdis,  a  monster 
which  thrice  each  day  swallowed  the  waters  of  the  sea,  and  as  often 
cast  them  up.  Facing  Charj-bdis,  and  nearer  to  Italy,  was  another 
rock  containing  a  cave  in  which  dwelt  Scylla,  a  monster  with  twelve 
feet  and  six  heads  surmounting  long  necks. 

which  breaks  itself,  etc.  The  line  describes  the  meeting  of  two 
opposite  currents. 

24.  dance.  Ironical.  Ridda  is  a  contra-dance  accompanied 
with  singing. 

25.  rolling  weights.  The  weights  represent  the  burden  imposed 
alike  by  avarice  and  by  prodigality.  The  miser  is  oppressed  with 
efforts  to  gain  and  hoard,  the  spendthrift  by  the  lack  of  means  to 
supply  his  extravagance. 

27.  kept  clashing.  The  misers  and  the  prodigals  form  two 
companies,  each  of  which  moves  round  half  the  circle  in  the  direc- 
tion opposite  to  the  other.  When  they  meet,  each  company  turns 
and  goes  the  other  way,  imtil  they  meet  again  and  clash  together 
like  opposing  tides. 

29.  cr3ring,  why  boldest,  etc.  The  miser  feels  himself  wronged 
by  the  spendthrift's  extravagance ;  the  spendthrift  by  the  miser's 
parsimony. 

34.  tilt.  The  image  is  changed  from  a  dance  to  a  tourney.  Both 
are  ironical. 

39.  each  and  all  of  them.  Both  bands,  for  both  had  misused 
money. 

41.  barks.    WTien  they  say,  "Why  boldest?  etc." 


NOTES  209 

50.  cherishest.  The  original  word  means  to  bring  several  things 
into  one ;  to  collect  a  number  of  facts  into  a  definite  judgment. 

51.  undisceming.  These  people  failed  to  discern  the  true  end 
of  life  in  the  worid,  and  the  right  use  of  woridly  possessions. 

52.  to  every  recognition  dark.  Avarice  is  the  vice  for  which 
Dante  exhibits  the  most  profound  contempt.  In  Purg.  xx,  9,  10, 
he  describes  it  as  **the  evil  which  possesses  the  whole  world." 
He  handles  it  severely  in  many  passages  in  the  Convito.  See,  for 
instance,  iv,  12,  4.  "And  what  other  thing  daily  imperils  and  de- 
stroys cities,  neighborhoods,  individuals,  like  the  amassing  of  new 
possessions  by  some  one?  Which  accumulation  inspires  fresh 
desires  impossible  to  fulfil  without  injury  to  others."  And  again, 
iv,  13,  4,  6.  "We  may  see  that  the  possession  of  riches  is  harm- 
ful for  two  reasons :  first,  that  it  is  the  cause  of  evil ;  secondly,  that 
it  is  the  privation  of  good.  It  is  the  cause  of  evil  because  it  makes 
the  possessor  wakeful,  timid,  and  hateful.  What  fear  is  his  who 
carries  riches  about  him,  whether  walking  or  resting,  awake  or 
asleep,  not  only  that  he  will  lose  his  gains,  but  that  he  will  be  lost 
for  the  sake  of  his  gains."  Accordingly,  both  in  the  Inferno  and 
in  the  Purgatorio,  Dante  represents  the  avaricious  as  unrecogniz- 
able. The  greed  of  gain  which  absorbs  their  faculties  destroys 
their  individuality.  It  reduces  them  all  to  one  level.  Besides 
this  passage,  see  Inf.  xvii,  52  ff.,  where  the  usurers  can  be  identified 
only  by  the  purses  round  their  necks,  decorated  with  their  armorial 
bearings,  on  which  their  eyes  are  fixed.  In  Purgatory,  those  who 
are  expiating  this  sin  are  lying  face  downward,  chained  and  incapable 
of  motion.  Purg.  xix,  76,  120  ff.  On  the  opposite  vice  of  prodi- 
gality, and  the  punishment  of  the  two  vices  in  one  cricle,  comp, 
the  words  of  Statius  in  Purg,  xxii,  33-56. 

55.  hair  cut  short.  An  Italian  proverb  describes  a  prodigal 
as  one  who  has  squandered  up  to  his  hair.     Comp.  Purg.  xxii,  48. 

60.  gust.  The  primary  meaning  of  the  word  is  "vanity," 
"emptiness."     Some  render  "jest"  or  "farce." 

73.  guides.  In  the  following  celebrated  passage  which  is  de- 
rived from  Boethius,  Dante  represents  Fortune  as  an  Intelligence 
ordained  by  God,  which  orders  human  affairs  as  the  angelic  orders 
direct  the  motions  of  the  heavens. 

86.  no  truce.  Fortune  does  not  make  terms  with  men,  as  con- 
tending armies  when  they  agree  to  a  temporary  suspension  of 
hostilities.  On  the  incessant  rising  and  falling  of  great  families, 
see  Par.  xvi,  73-84. 

88.  so  often  someone  comes,  etc.  So  often  comes  one  who  wins 
his  turn  or  has  good  luck.  Because  Fortune  moves  so  swiftly, 
the  succession  is  rapid  of  those  who  come  into  her  favor. 

90.  crucified.  Execrated.  The  phrase  is  quite  common  in 
Tuscany.     The  meaning  is  "to  censure  with  curses." 

100.  we  crossed.  Lit.,  "we  cut  off."  Instead  of  going  round 
the  fourth  circle,  they  cut  across  to  ' '  the  other  bank,' '  which  begirds 
the  fifth  circle,  to  a  point  above  a  fountain  or  spring  which  dis- 
charges its  waters  through  a  trench  into  the  fifth  circle.  They 
are  standing  on  higher  ground  than  the  spring,  and  see  it  at  their 


210  THE  DIVINE  COMEDY 

feet.  Before  this  they  have  been  skirting  the  edge  of  the  high 
bank,  but  now  they  strike  inward,  and  begin  descending,  parallel 
with  the  trench,  into  the  fifth  circle. 

103.  perse.     See  note  on  Inf.  v,  90. 

106.  gray  slopes.  Benvenuto  compares  the  color  to  that  of  a 
black  monastic  habit,  subnignim  or  blackish. 

108.  Styx.  See  Aen.  vi,  323-324.  The  name  is  akin  to  the  Greek 
verb  meaning  "to  hate."  According  to  Homer  and  Vergil,  it 
flows  seven  times  round  the  nether  world.  In  classic  mythology 
it  is  personified  as  a  daughter  of  Oceanus  and  Tethys,  who  dwelt 
in  a  lofty  grotto  supported  by  sUver  columns,  at  the  entrance 
of  Hades.  The  most  solemn  oaths  were  sworn  by  St>^.  By 
Dante  Styx  is  pictured  as  a  marsh  of  black  mire;  an  idea  derived 
from  Vergil,  who  describes  it  as  the  "Stygian  marsh,"  and  "the 
Stvgian  lakes."     Comp.  Aen.  vi,  323,  369  ;  vi,  134. 

109.  bog.  Mr.  Hodgkin  ("Italy  and  her  Invaders,"  i,  853) 
thinks  that  the  picture  of  this  marsh  may  have  been  shaped  or 
suggested  by  the  rice-swamp  which  extends  over  the  site  of  the 
ancient  Classis,  between  Ravenna  and  the  sea.  See  note  on  Inf. 
V,  98. 

115.  anger  overcame.  In  the  mud  of  this  fen  anger  is  punished; 
violent  anger  on  the  surface,  and  sullen  or  sulky  anger  in  the 
mire  at  the  bottom. 

121.  we  were  morose.  Sullen  wrath  beclouds  the  spirit.  Like  a 
dense  smoke  it  perv'erts  the  mental  and  moral  vision,  and  shuts 
out  all  right  impressions  of  truth  and  goodness.  Self-centred,  it 
smoulders  in  its  own  sluggish  medium.  Hence  the  appropriate- 
ness of  the  punishment  which  condenms  the  soul  to  an  eternal 
environment  of  mire.     Comp.  Wisd.  xvii,  21. 

123.  sltiggish.  In  this  adjective  many  interpreters  find  an  in- 
dication of  a  distinct  sin — Spiritual  Sloth  and  Indifference.  Such 
assume  that  the  classification  of  sins  in  the  Inferno  is  identical 
with  that  in  the  Purgatorio,  both  being  intended  as  classifications 
of  the  seven  deadly  sins.  But,  not  to  sp>eak  of  the  difference  of  ar- 
rangement, in  the  Purgatorio  more  than  half  the  special  sins  treated 
in  the  Inferno  are  omitted  altogether,  and  the  correspondence 
can  be  established  only  by  finding  the  omitted  sins  included  in 
the  circles  which  are  distinctly  assigned  to  others.  Thus  it  is 
asserted  that  En\^  is  found  in  the  fifth  circle  (Inf.  vii,  121;  viii, 
63) ;  Pride  in  the  fifth,  sixth,  or  seventh  (Inf.  viii,  48  ;  ix,  93  ;  xiv, 
62).  So  it  is  maintained  that  Spiritual  Slothfulness,  which  is  one 
of  the  seven  sins  expiated  in  Purgatory,  is  indicated  by  "the 
sullen  smoke."  But  the  state  of  sullen  wrath  described  here  has 
Uttle  in  common  with  Spiritual  Slothfulness.  The  sins  are  arranged 
according  to  their  gra^'ity :  those  of  the  Purgatorio  in  inverse  order 
to  those  of  the  Inferno.  In  the  Purgatorio,  Spiritual  Slothfulness 
is  higher  up  than  Anger,  and  is  therefore  less  grave.  In  the  In- 
ferno it  is  lower  than  Anger,  and  therefore  more  grave.  In  the 
Purgatory  Spiritual  Slothfulness  is  lower  and  graver  than  Avarice. 
If  the  former  appears  in  the  Inferno,  it  is  higher  and  less  grave 
than  Avarice.      Moreover,  if  Spiritual  Slothfulness  is  here  indi- 


NOTES  211 

cated  as  a  vice  distinct  from  Anger,  we  have  two  distinct  sins  pun- 
ished in  one  circle  with  the  same  punishment.  It  seems  better  to 
abandon  the  attempt  to  make  the  classification  of  the  Inferno 
and  of  the  Purgatorio  correspond,  and  to  see  in  this  circle,  not 
Anger  and  Spiritual  Slothfulness,  but  two  forms  of  anger — violent 
and  sullen.  (For  the  substance  of  this  note  I  am  indebted  to  Dr. 
Moore.) 

126.  slough.      In  Tuscany  pozza  means  every  kind  of  collection 
of  waters — pool,  pond;  lake,  lagoon,  fen,  etc. 


CANTO  VIII 

1.  Continuing.  Continuing  the  subject  of  the  previous  canto. 
Some,  however,  think  that  the  word  indicates  Dante's  resumption 
of  his  work  on  the  Commedia  after  a  considerable  interval  of 
his  exile.  The  story  is  that  the  manuscript  of  the  first  seven  cantos 
was  recovered  by  Dante's  nephew  from  the  chest  in  which  Dante 
had  deposited  them,  and  was  handed  to  a  well-known  literary  man, 
who,  in  turn,  sent  it  to  the  nobleman  with  whom  Dante  was  re- 
siding at  the  time,  begging  him  to  induce  the  poet  to  continue 
his  work.  Much  doubt,  however,  has  been  cast  upon  the  story 
by  later  scholars,  such  as  Blanc.  Scartazzini,  and  Kraus. 

4.  two  little  flames.  Signal  lights,  notifying  the  city  of  Dis  that 
two  spirits  are  about  to  cross  the  Styx. 

5.  from  so  far.  From  the  city  of  Dis.  The  whole  scene  is  thor- 
oughly mediaeval ;  the  walled  city  surrounded  by  a  moat,  the 
signal-towers,  the  fire-signals,  the  ferry-boat — all  might  be  seen  in 
many  parts  of  Northern  Italy. 

14.  never  did  cord,  etc.     Comp.  Aen.  xii,  856. 

19.  Phlegyas.  The  guardian  of  the  fifth  circle.  See  1.  21.  He 
was  the  son  of  Mars.  His  daughter  Coronis  having  been  ravished 
by  Apollo,  he  set  fire  to  Apollo's  temple  at  Delphi,  for  which  crime 
he  was  condemned  to  the  lower  world.  As  a  flagrant  example 
of  the  consequence  of  anger  leading  to  contempt  of  divine  and 
human  law,  his  place  in  the  circle  of  the  Angry  is  appropriate. 
Vergil  places  him  in  Tartarus,  warning  the  shades  to  learn  justice, 
and  not  to  despise  the  gods.  See  Aen.  vi,  618-620.  His  boat  is 
not  mentioned  in  classical  legend,  and  is  apparently  an  invention  of 
Dante. 

28.  laden  seemed  it  not.     Comp.  Aen.  vi,  412-414. 

29.  boat.  In  most  parts  of  Italy  the  word  legno  is  used  in- 
dtecriminately  for  **a  ship"  or  "a  carriage." 

32.  dead  canal.  The  great  fen,  stagnant,  unruffled,  perhaps 
in  contrast  with  the  bubbling  mire  of  Cant,  vii,  119. 

34.  all  full  of  mire.  Filippo  Argenti,  one  of  the  Adimari  family 
of  Florence.  According  to  the  older  commentators,  his  name  Argenti 
(''silver")  was  bestowed  because  he  once  had  his  horse  shod  with 
silver.     He  was  credited  with  a  very  savage  temper.     Dante  may 


212  THE  DIVINE  COMEDY 


have  had  some  personal  quarrel  with  him,  and  he  was  a  Black, 
while  Dante  was  a  White. 

35.  before  thy  time.     Before  thy  death. 

39.  thou  cursed  soul.  Dante's  bitter  contempt  is  characteristic, 
and  is  commended  by  the  Pagan  Vergil  in  language  which  is  strongly 
scriptural. 

46.  blest  is  she.  Ck)mp.  Luke  xi,  27.  This  is  the  only  allusion 
in  the  poem  to  Dante's  mother. 

55.  I  would  right  happy  be.  Dante's  animosity  is  not  satisfied 
with  words. 

56.  pottage.  Or  "broth,"  "soup."  It  is  a  "gruel  thick  and 
slab, ' '  crowded  with  souls  as  a  thick  soup  is  with  fragments  of  meat 
and  vegetables. 

71.  Dis.  The  name  of  Pluto  the  King  of  Hell,  and  applied  by 
Dante  to  Lucifer.  See  note  on  Cant,  vi,  119.  Vergil  uses  the 
name  for  Hell  (Aen.  \i,  127).  The  city  of  Dis  marks  the  beginning 
of  the  sixth  circle.  The  occupants  of  that  circle  are  not  in  the  upper 
Inferno,  which  is  bounded  by  Acheron  and  Styx.  Nor  are  they 
in  the  lower  Inferno,  the  descent  to  which  begins  wHth  Cant.  xii. 
The  sixth  circle,  therefore,  occupies  an  intermediate  level  plain 
within  the  city  walls.  There  is  no  difference  of  level  between  this 
and  the  preceding  circle.  It  is  separated  from  the  seventh  circle 
by  a  steep  precipice.  The  description  of  the  city  of  Dis  is  evidently 
founded  upn^n^Aen.  vi,  548  ff. 

72.  townsmen  pestilent.  Two  explanations  are  given  of  gravi  : 
"burdened  with  their  sins,"  or  "noxious,  offensive,"  as  they 
showed  themselves  toward  Vergil  and  Dante.  The  latter  is  prefer- 
able. 

74.  minarets.  Suggesting  the  Mohammedan  mosques,  and 
marking  the  abode  of  unbelievers. 

78.  in  this  nether  Hell.  Pointing  the  contrast  of  the  fiery  glow 
with  the  surrounding  darkness.  Nothing  can  be  finer  than  the 
picture  of  these  fiery  towers  seen  in  the  distance  through  the  dusky 
air. 

79.  the  fosses  deep.  Very  impressive  is  this  approach  to  the 
dark,  massive  walls  through  the  deep,  stiU  fosses  which  lap  their 
bases;  and  the  savage  sombreness  of  the  whole  is  pointed  by  the 
words  "that  sad  city." 

85.  more  than  a  thousand.  Demons.  Devils  appear  here  for 
the  first  time. 

fallen.     Lit.,  "rained"  from  Heaven.     These  are  fallen  angels. 

94.  his  folly  chose.  The  path  which  he  rashly  and  foolishly 
chose.  Dante  says  to  Vergil  before  entering  Hell:  "I  fear  my 
going  may  be  foolish"  (Inf.  ii,  36);  and  Ulysses  describes  his  last 
voyage  as  a  "crazy  flight"  (Inf.  xxxi,  130). 

100.  more  than  seven  times.  Against  the  wolf,  his  own  mis- 
givings, Charon,  Minos,  Cerberus,  Plutus,  Plilegyas.  Scartazzini 
very  pertinently  says  that  it  seems  ridiculous  for  Dante,  in  a 
moment  of  such  fearful  distress,  to  be  counting  how  many  times 
Vergil  has  reassured  him.  But  "seven"  is  probably  used  indefi- 
nitel3^ 


NOTES  213 

115.  yes  and  no.  Yes!  Vergil  will  return.  No!  He  will  not 
return. 

130.  a  gate  less  secret.  The  gate  by  which  Vergil  and  Dante 
had  entered  Hell.  According  to  the  ancient  Church- tradition, 
the  devils  opposed  Christ's  descent  into  Hades. 

131.  the  words  of  death.  The  inscription  at  the  opening  of 
Cant.  iii. 


CANTO  IX 

1.  That  hue.  Dante  means  that  the  paleness  occasioned  by  his 
fear  caused  Vergil  to  banish  the  traces  of  disturbance  from  his 
own  face,  so  that  he  might  not  aggravate  Dante's  terror. 

7.  unless.  Vergil  is  on  the  point  of  expressing  a  doubt,  but 
represses  it,  and  reassures  himself  and  Dante  by  saying  :  "So 
great  a  power  offered  itself  for  our  aid";  Heaven  itself, whose  as- 
sistance was  procured  through  the  Virgin  and  Lucia,  and  was 
proffered  by  Beatrice.     See  Cant.  ii. 

16.  pit.  Often  translated  "shell,"  which,  however,  is  a  second- 
ary meaning.  The  word  conca  is  familiar  in  Tuscany  as  a  large 
earthenware  vessel  for  containing  lye,  and  having  the  form  of  a  trun- 
cated cone,  which  is  the  form  of  the  infernal  pit. 

17.  the  first  grade.     Limbo. 

23.  Erichtho.  A  Thessalian  sorceress.  Doubtless  suggested  to 
Dante  by  Lucan's  Pharsalia,  in  which  she  is  represented  as  em- 
ployed by  Pompey's  son  to  conjure  up  the  spirit  of  one  of  his  dead 
soldiers  on  the  eve  of  the  battle  of  Pharsalia,  to  reveal  the  issue 
of  the  battle.  It  is  difficult  if  not  impossible  to  explain  Dante's 
association  of  Erichtho  with  Vergil.  The  popular  mediaeval 
belief  that  Vergil  was  a  great  magician  may  have  had  something 
to  do  with  it.  Dante  may  have  found  the  germ  of  the  story  in 
some  of  the  current  legends  about  Vergil. 

26.  that  wall.     Of  the  city  of  Dis. 

27.  The  round  of  Judas.  Giudecca,  the  very  lowest  round  of  the 
Inferno. 

30.  which  all  revolves.  The  Primum  Mobile.  See  Par.  xxviii, 
70,  and  Introduction,  under  "Dante's  Cosmogony." 

38.  Furies.  Dante  also  uses  the  classical  term,  Erine,  in  1,  45. 
The  name  Erinyes  was  derived  from  a  Greek  verb  meaning  "to 
hunt  down;  to  persecute."  The  later  name,  Eumenides,  signi- 
fying "the  well-meaning  ones,"  was  a  euphemism,  used  because 
people  dreaded  to  call  these  fearful  beings  by  their  real  name.  In  the 
Homeric  poems,  the  word  Erinyes  is  often  used  for  "curses." 
For  Dante's  picture,  comp.  Aen.  vi,  554-555  ;   Statins,  Theb.  i,  103. 

43,  44.  Queen  of  the  eternal  wailing.  Comp.  Chaucer,  "House  of 
Fame,"  iii,  1512. 

"  That  quene  is  of  the  derke  pyne." 

49.  breast — nails.     Comp.  Aen.  vi,  673. 

52.  Medusa.     Or   the    Gorgon.     According    to    a    very    ancient 


214  THE  DIVINE  COMEDY 

tradition  there  were  three  Goi^ons  that  dwelt  on  the  farthest  shore 
of  Ocean.  Two  of  them  were  immortal.  Medusa  alone  was 
mortal.  Her  head  was  cut  ofif  by  Perseus  and  was  given  to  Athene 
(Minerva),  who  set  it  in  her  shield.  Whoever  looked  upon  it  was 
turned  to  stone. 

55.  Theseus.  King  of  Athens.  With  his  friend  Pirithous  he 
attempted  to  carry  off  Proserpina,  Pluto's  queen.  Pirithous  was 
slain,  and  Theseus  was  kept  a  prisoner  in  HeU  untU  released  by 
Hercules.  Vergil  represents  him  as  detained  in  Hell  forever.  See 
Aen.  vi,  617-618.  Comp.  391-397.  Dante  adopts  the  version 
of  the  legend  according  to  which  he  was  liberated. 

63.  the  teaching  hidden.  Dante  here  calls  attention  to  the 
allegoric^  significance  of  U.  55-58.  It  must  be  remember^  that 
Dante's  pilgrimage  is  the  process  of  his  conversion  from  a  life 
of  sensuality  and  unbehef.  This  circle  is  the  circle  of  the  unbe- 
Ue\Tng,  and  especially  of  a  form  of  unbehef  which  was  largely 
associated  with  sensualism.  The  malevolent  angels  of  this  circle 
are  bent  upon  resisting  all  progress  toward  true  penitence.  The 
most  effectual  means  to  this  end  is  to  produce  despair,  which  may 
act  either  to  make  one  deny  God,  or  to  make  him,  through  the 
memory  of  past  sins,  lose  all  hope  of  pardon.  The  beating  and 
tearing  of  the  breasts  in  hopeless  misery  symbolizes  the  harrowing 
remembrance  of  former  sins.  The  Gorgon  which  turns  to  stone  is 
despair. 

64.  and  already  came.  There  is  no  more  magnificent  descrip- 
tive passage  in  the  poem  than  the  following. 

68.  counter  heats.  Heat  from  an  opposite  quarter.  The  wind 
rushes  in  to  fill  the  vacuum  caused  by  heat. 

69.  smites  the  forest.  Chaucer  may  have  found  here  his  lines 
describing  those  forest  growths 

"  In  which  there  ran  a  rumbel  and  a  swough. 
As  though  a  storm  sholde  bresten  every  bough." 

"Knighte's  Tale,"  1879-1880. 

75.  is  most  distressing.     Most  annoying  to  the  eyes. 

77.  the  frogs.  Mr.  J.  A.  Symonds  thinks  that  this  description 
may  have  been  suggested  to  Dante  in  the  Pineta  at  Ravenna. 
"The  picture  of  the  storm  among  the  trees  might  well  have  occurred 
to  Dante's  mind  beneath  the  roof  of  pine-boughs.  Nor  is  there 
any  place  in  which  the  simile  of  the  frogs  and  water-snake  attains 
such  dignity  and  grandeur.  I  must  confess  that,  till  I  saw  the 
ponds  and  marshes  of  Ravenna,  I  used  to  fancy  that  the  com- 
parison was  somewhat  below  the  greatness  of  the  subject ;  but 
there  so  grave  a  note  of  solemnity  and  desolation  is  struck,  the 
scale  of  Nature  is  so  large,  and  the  serpents  coiling  in  and  out  among 
the  lily-leaves  and  flowers  are  so  much  in  their  right  place,  that 
they  suggest  a  scene  by  no  means  unworthy  of  Dante's  conception." 
"Sketches  and  Studies  in  Southern  Eurof)e." 

huddled.  Following  Boccaccio,  many  explain  "gather  them- 
selves into  heaps."  But  observation  shows  that  on  the  approach 
of  danger  to  a  number  of  frogs,  they  throw  themselves  separately 


NOTES  215 

into  the  water,  and  may  be  seen  lying  separated  at  the  bottom. 
Notice  that  Dante  says  "each  one."  William  Warren  Vernon 
("Readings  on  the  Inferno  of  Dante")  thinks  that  the  Italian 
abbicare  is  a  latinism  from  abjicere  "to  throw  off."  Even  if 
"  huddle"  is  retained,  it  need  not  imply  that  many  frogs  are  huddled 
in  a  heap,  but  simply  that  each  frog  is  drawn  up  or  bunched  up  with 
terror. 

80,  81.  one  who — ^was  passing.  Dante's  angels  are  unique  both 
in  beauty  and  in  majesty.  Perez  ("  I  Sette  Cerchi  del  Purgatorio 
di  Dante")  remarks  that  it  seems  to  him  that  the  angels  have 
loved  to  reveal  themselves  in  Italy  more  than  in  any  other  land; 
and  that  their  excellence,  nature,  and  beauty  have  been  set  forth  at 
their  highest  by  the  three  great  Italians  to  whom  the  title  of  Angelic 
properly  belongs.  Thomas  Aquinas,  the  Angelic  Doctor;  Giovanni 
da  Fiesole  or  Fra  Angelico;  and  Dante,  who  is  named  the  divine  poet, 
which  is  better  than  "  angelic."  At  this  point  he  will  naturally  be 
compared  with  Milton.  Macaulay's  attempt  to  draw  the  com- 
parison may  be  pardoned  because  of  the  immature  character  of  the 
"  Essay  on  Milton,"  which  betrays  the  crudest  possible  conception  of 
the  subject.  Dante's  only  picture  of  a  fallen  angel  is  that  of  Lucifer. 
In  his  portraits  of  Satan  and  his  associate  rebels,  Milton  accentuates 
former  glory  now  lost  or  tarnished.     Satan's  form 

"  had  not  yet  lost 
All  her  original  brightness,  nor  appeared 
Less  than  archang'el  ruined,  and  th'  excess 
Of  glory  obscured." 

His  companions  are 

"  godlike  shapes,  and  forma 
Excelling  human,  princely  Dignities, 
And  Powers  that  erst  in  Heaven  sat  on  thrones." 

Dante's  Lucifer  is  the  consunmiate  incarnation  of  demoniac 
bestiality.  Milton's  good  angels  are  winged  men  in  casques  and 
breastplates,  wielding  swords  and  spears,  or  celestial  Adonises 
with  curling  locks  and  golden  tiaras.  They  go  sociably  to  lunch  with 
Adam  and  Eve  in  Eden;  they  engage  in  athletic  sports,  and  dance 
cotillions  round  the  sacred  hill  on  festive  occasions;  they  mount 
and  relieve  guard  on  the  heights  of  heaven,  and  are  rolled  over  by  a 
vigorous  onslaught  of  the  infernal  squadrons;  they  are  stamped 
with  what  Mrs.  Jameson  calls  "the  aggrandized  and  idealized  human 
presence."  Dante,  whose  outlines  are  usually  so  sharp,  commonly 
evades  definiteness  in  portraying  his  angels.  The  outlines  melt  in  the 
reader's  effort  to  define  them.  One  never  loses  the  impression 
of  a  superhuman  being,  and  never  receives  the  impression  of  an  ex- 
aggerated man.  Over  and  above  the  distinctive  traits  necessary  to 
the  evolution  of  the  particular  idea  or  scene,  they  are  invested  with 
a  quality  which  defies  analysis  or  definition.  The  most  sharply 
drawn  are  the  one  in  this  passage  and  the  warder  of  the  gate  of 
Purgatory.  Next  to  these  are  the  pilot-angel  and  the  two  in  the 
Valley  of  the  Princes.  The  angel  who  conducts  the  ascent  to  the 
second  terrace  of  |Purgatory  is  portrayed  by  hints  rather  than 
by  details — the  fair  creature,  white-robed,  and  with  a  face  like  the 


216  THE   DIVINE  COMEDY 

trembling  moming-star.  At  the  ascent  to  the  third  terrace  there  are 
only  a  great  splendor  and  the  words  "Enter  here";  at  the  fourth, 
only  light  and  a  sense  of  the  fanning  of  wings;  at  the  fifth,  onl}^  a 
vision  of  two  wings  like  a  swan's;  but  in  the  merest  hints,  the  an- 
gelic presence  is  recognized  and  felt.  The  angel  of  this  passage  is, 
on  the  whole,  the  finest  of  aU. 

84.  with  that  annoyance  only.  The  effect  of  the  noisome  at- 
mosphere. He  was  not  troubled  with  compassion  for  the  damned 
nor  with  fear  of  their  wrath. 

87.  bow  me  down.     Comp.  Purg.  ii,  27. 

88.  disdainful.  Of  the  impotent  rage  of  the  demons.  See  note 
on  Inf.  ii,  122. 

99.  to  butt  against.     Comp.  Purg.  xvi,  11. 

101 .  carries  peeled  his  chin  and  throat.  Hercules  chained  Cerberus 
and  dragged  him  to  the  upper  world.     See  Aen.  vi,  395-396. 

103.  spoke  no  word  to  us.  Possibly  because  he  was  in  haste  to 
return.  Some  have  thought  that  he  did  not  address  Vergil  because 
he  was  a  Pagan,  nor  Dante  because  his  purification  was  not  com- 
plete. 

104.  other  care.  Not  merely  as  "preoccupied  with  thoughts 
of  Heaven,"  but  as  preoccupied  with  the  burden  of  his  heavenly 
conunissions. 

114.  Aries.  Aries,  once  the  most  important  city  of  Southern 
France,  and  called  the  Rome  of  Gaul,  is  in  Provence  near  the  delta  of 
the  Rhone.  The  great  cemeter}^,  which  still  retains  the  name 
Aliscamps,  or  Elysian  Fields,  hes  beyond  the  walls  east  of  the  city. 
According  to  the  legend  it  was  consecrated  to  the  interment  of  the 
bodies  of  the  faithful.  The  peers  of  Charlemagne  with  their  ten 
thousand  men-at-arms  were  said  to  be  interred  there.  The  tombs, 
of  which  there  are  many  remains,  were  evidently  both  Christian  and 
Pagan. 

becomes  a  marsh.  Forms  a  lagoon;  not  "  is  stagnant. "  Twenty- 
five  mUes  from  the  sea  the  Rhone  begins  to  form  its  delta,  breaking 
into  two  main  branches,  and  cannot  keep  a  clear  passage  to  the  sea 
because  of  the  accumulations  of  its  own  alluvium.  It  has  been 
estimated  that  since  the  Gallo-Roman  period,  from  seventy-five 
to  a  hundred  square  miles  have  been  added  to  the  area  of  the  delta. 
From  Tarascon  to  Aries,  seventeen  miles,  is  an  alluvial  plain  in- 
tersected by  ditches. 

115.  Pola.  Pola  is  in  the  extreme  south  of  the  peninsula  of 
Istria,  separated  by  a  few  miles  from  the  deep  gulf  of  Quamaro. 
It  was  an  important  naval  station  in  the  Augustan  age,  and,  in  the 
Middle  Ages,  suffered  severely  in  the  contests  between  the  Venetians 
and  the  Genoese,  being  laid  waste  by  each  in  turn.  It  sank  into 
insignificance,  and  did  not  come  into  notice  again  until  the  Austrians 
made  it  their  headquarters  in  their  attempts  against  Venice.  An 
interesting  description  of  the  modern  town  is  given  by  Bassermann 
(" Dante's  Spuren  in  Italien, "  p.  40 ff.).  He  describes  the  necropolis 
as  occupying  a  spacious  amphitheatre  on  the  southeast  of  the  city, 
on  the  road  leading  to  the  Gulf  of  Quamaro.  The  tombs  have 
vanished,  but  must  have  been  very  numerous.     It  is,  beyond  doubt. 


NOTES  217 

Dante's  field  of  tombs.  There  is  an  unsupported  tradition  that  Dante 
was  entertained  in  the  neighboring  Benedictine  abbey  of  S.  Michele. 
A  description  and  a  wood-cut  are  given  in  Sir  Gardner  Wilkinson's 
"Dalmatia  and  Montenegro,"  Vol.  I,  Ch.  ii.  See  also  AUason's 
"Antiquities  of  Pola,"  Lond.,  1819. 

128.  Heresiarchs.  The  term  is  somewhat  ambiguous.  Dante 
has  one  type  of  sin  prominently  in  mind,  namely,  Epicureanism, 
and  that  in  respect  of  its  holding  that  the  soul  dies  with  the  body. 
In  this  sense  alone  the  punishment  is  appropriate.  Heresiarchs,  in 
the  ordinary  sense  of  that  term,  would  belong  with  the  Schismatics 
in  the  ninth  Bolgia  (Cant,  xviii).  Here  Dante  contemplates  open  and 
professed  infidelity,  particularly  in  its  aspect  of  materialism.  Dr. 
Moore  has  some  very  interesting  remarks  as  to  the  reason  why 
Dante  did  not  provide  a  special  punishment  for  heresy  properly  so 
called,  or  perverted  opinions  on  religious  truth  as  such.  He  points 
out  that  it  was  no  part  of  Dante's  plan  to  deal  with  secret  sins  of 
the  heart,  but  only  with  those  which  were  developed  in  some  out- 
wardly vicious  action.  There  is  no  place  in  the  Inferno  for  one 
who  merely  holds  heretical  views  ;  but  when  he  openly  promulgates 
them,  or  openly  denies  the  truth  of  Christianity  and  repudiates  the 
authority  of  the  Church,  he  becomes  a  candidate  for  the  ninth 
Bolgia.     ("Studies  in  Dante,"  ii,  178  ff.) 

132.  to  right.  In  his  passage  through  Hell,  Dante  follows  a 
leftward  course  throughout.  See  Inf.  xiv,  125  ;  xviii,  20  ;  xix,  43  ; 
xxi,  141  ;  xxiii,  69  ;  xxix,  55  ;  xxxi,  83.  The  allegorical  meaning 
of  this  practice  is  variously  explained.  Some  :  at  the  day  of  judg- 
ment the  doomed  will  stand  at  the  left  hand.  Others  :  in  Hell 
the  forms  of  sin  proceed  from  worse  to  worse.  At  best  these  are 
speculations,  as  are  the  explanations  of  the  turn  to  the  right  at  this 
point  of  the  journey. 


CANTO  X 

I.  secret  path.     "Secret"  is  the  true  reading;  not  "narrow." 

II.  Jehoshaphat.  According  to  the  belief  that  the  final  judgment 
would  take  place  in  the  Valley  of  Jehoshaphat  on  the  east  side  of 
Jerusalem.     See  Joel  iii,  2,  12. 

13.  Epicurus.     See  note  on  Inf.  ix,  128. 

18.  the  desire.     See  Inf.  vi,  79. 

21.  save  to  speak  briefly.  Dante  means  that  he  does  not  keep 
silent  for  the  sake  of  concealing  his  thoughts,  but  in  order  that  he 
may  not  annoy  Vergil  by  talking  too  much. 

26.  thy  mode  of  speech.  Farinata  has  heard  Dante  talking  with 
Vergil,  and  has  recognized  him  as  a  Tuscan  by  his  dialect. 

28.  I  was  too  troublesome.  By  returning  to  Siena  after  his 
expulsion  from  Florence  in  1258,  where,  with  his  companions  in 
exile,  he  concerted  the  measures  which  led  to  the  crushing  defeat 
of  the  Florentine  Guelfs  at  Montaperti. 

33.  Farinata.     Son  of  Jacopo  degli  Uberti.     He  was  born  in  the 


218  THE   DIVINE  COMEDY 

beginning  of  the  thirteenth  century.  His  family  became  a  leader 
of  the  Ghibellines.  In  1248  he  was  active  in  the  expulsion  of  the 
Guelfs,  who  returned  in  1251,  and  in  1258  expelled  the  Ghibellines, 
Farinata  among  them.  He  retired  to  Siena,  where  he  organized 
a  movement  which  led  to  the  defeat  of  the  Guelfs  at  the  battle  of 
Montaperti,  September  4,  1260,  leaving  the  Ghibellines  masters 
of  Tuscany.  After  this  he  returned  to  Florence,  and  died  about  1264. 
He  is  placed  in  Hell  as  a  follower  of  Epicurus's  opinion  that  the  soul 
died  with  the  body. 

44.  to  obey.  Vergil's  admonition.  It  is  noticeable  that  Dante 
does  not  manifest  here  his  usual  contempt  for  the  sufferers,  but 
rather  speaks  respectfully,  possibly  because  of  their  dignity  and 
reputation. 

49.  they  were  opposed.  Being  Guelfs,  and  therefore  hostile  to  the 
Ghibellines,  Farinata's  party. 

two  several  times.     In  1248  and  1260. 

52.  returned  both  times.  In  1251,  and  in  1266,  after  the  battle  of 
Benevento  between  Charles  of  Anjou  and  Manfred,  the  King  of 
Sicily.  Manfred  was  defeated  and  slain.  He  had  contributed 
greatly  to  the  Ghibelline  victory  at  Montaperti,  and  his  defeat  and 
death  were  a  crushing  blow  to  the  Ghibelline  cause. 

53.  at  the  mouth.  Conmaonly  rendered  "to  sight."  But  vista 
means  rather  the  unclosed  mouth  of  the  tomb,  just  as,  in  Purg. 
X,  68,  it  means  "  window. " 

55.  a  shade.  This  is  Cavalcante  dei  Cavalcanti,  the  father  of 
Dante's  friend  Guido  Cavalcanti,  who  married  Farinata's  daughter. 

61 .  where  is  my  son  ?  Comp.  the  interview  of  Aeneas  and  Androm- 
ache, Aen.  vi.  310  S. 

65.  in  contempt.  Why,  cannot  be  satisfactorily  explained. 
Dante  dedicated  the  "  Vita  Nuova"  to  him,  and  says  (§  xxxi)  that 
Guido  desired  him  to  write  to  him  only  in  Italian  and  not  in  Latin ; 
from  which  it  is  inferred  that  Guido  had  no  love  for  Latin  poetry,  and 
consequently  none  for  Vergil.  Others  assign  a  political  reason  ;  that 
Guido,  a  Guelf,  disliked  Vergil  who  was  the  poet  of  the  Roman 
Empire. 

70.  he  held.  Cavalcante  interprets  the  past  tense  as  indicating 
that  Guido  was  no  longer  living. 

78.  that  art.     The  art  of  returning  home  after  banishment. 

81.  the  dame.  Hecate  or  Proserpina  who  rules  in  Hell,  and  rep- 
resents the  moon. 

82,  83.  how  heavy  is  that  art.  Dante  was  banished  from  Florence 
in  1302.  Faruaata's  prediction  refers  to  1304,  when  the  banished 
Whites  and  Ghibellines,  including  Dante,  tried  in  vain  to  secure  a 
reversal  of  the  decree  of  banishment. 

85.  that  people  is  so  pitiless.  The  Florentine  Guelfs.  At  the 
time  when  Dante  wrote,  the  middle  classes  were  all-powerful,  and  the 
nobles,  especially  the  Ghibellmes,  were  trampled  under  foot.  See 
Purg.  vi,  114. 

mine.  The  family  of  the  Uberti  who  were  excepted  from  the 
permission  to  return  in  1280,  when  the  Guelfs  and  Ghibellines  were 
reconciled. 


NOTES  219 

88.  the  Arbia.  A  small  stream  of  Tuscany  rising  a  few  miles  south 
of  Siena.  On  its  left  bank  is  the  hUl  of  Montaperti,  where  occurred 
the  great  battle  between  the  Guelfs  and  the  Ghibellines  of  Florence. 
The  Ghibellines  were  driven  from  Florence  in  1250,  but  found  an 
ally  in  Manfred,  the  natural  son  of  the  Emperor  Frederick  II,  with 
whose  aid  and  that  of  the  Sienese  they  utterly  routed  the  Guelfs  at 
Montaperti,  September  4,  1260. 

such  law.  Orazion  is  rendered  in  two  ways  :  either  "decree,  law," 
or  "prayers."  According  to  the  former,  the  meaning  is:  "the 
defeat  of  the  Guelfs  at  Montaperti  causes  such  decrees  to  be  pro- 
mulgated in  our  temple  against  the  Uberti."  According  to  the 
latter  :  "the  defeat,  etc.,  causes  prayer  to  be  offered  in  our  temple 
for  deliverance  from  the  plots  of  the  Uberti. "  The  former  is  prefer- 
able. The  temple  was  the  church  of  San  Giovanni,  where  popular 
assemblies  were  held. 

91.  in  that.  In  fighting  against  Florence.  Not  on  my  shoulders 
alone  was  the  reproach  of  fighting  against  my  native  city.  I  was 
carried  along  with  others — the  Sienese  and  the  Pisans — and  not 
without  cause,  for  I  had  been  unjustly  banished. 

94.  I  only  was  the  one,  etc.  After  the  battle  of  Montaperti  a 
diet  of  the  Ghibellines  was  held  at  Empoli,  in  which  the  deputies 
from  Siena  and  Pisa  proposed  the  demolition  of  Florence.  Farinata 
strenuously  opposed  this,  and  the  project  was  dropped.  The 
incident  is  related  in  detail  by  Villani,  Cron.  vi,  81. 

99.  it  seems  that  you  foresee.  Dante's  perplexity  is  caused  by 
the  fact  that  Farinata  predicts  the  future  (11.  80-83),  while  Caval- 
cante  is  not  aware  that  his  son  is  still  alive  (11.  61,  62,  69,  70). 

101,  102.  we — see.  It  is  a  question  whether  by  "we"  Farinata 
is  referring  to  the  damned  generally,  or  only  to  the  tenants  of  this 
circle.  There  are  numerous  instances  in  the  Inferno  of  the  pre- 
diction of  the  future  by  the  damned.  See  vi,  65  ff.;  xxiv,  148  ff.  ; 
xxviii,  58-63  ;  xxxii,  74  ;  and  in  the  later  cantos  there  is  no  instance 
of  any  definite  knowledge  of  the  present.  Note  especially  Guido  da 
Montefeltro's  ignorance  of  the  present  state  of  Romagna,  xxvii,  28. 
But  in  vi,  49,  71,  75,  76,  Ciacco  is  aware  of  the  present  state  of 
Florence.  This  is  a  glaring  inconsistency  unless  Farinata  refers  only 
to  those  in  the  sixth  circle. 

104.  still  shines  the  Gtiide.  God  still  allows  us  to  retain  so  much 
light. 

109.  from  the  moment,  etc.  After  the  final  judgment  the  knowl- 
edge of  present  and  future  events  in  the  world  will  cease,  because 
time  will  have  ceased. 

111.  contrite.  Dante  appears  to  be  visited  with  some  compunc- 
tion for  the  anguish  which  he  has  caused  Cavalcante  by  not  answering 
at  once  his  question  "Where  is  my  son?"  and  thus  suffering  him  to 
believe  that  his  son  was  dead. 

117.  error.  Not  "perplexing  question."  He  means  his  own 
error  in  supposing  that  Cavalcante  was  aware  of  what  was  then  going 
on  in  the  world. 

121.  the  second  Frederick.  Grandson  of  Frederick  Barbarossa, 
son  of  the  Emperor  Henry  VI  and  Constance  of  Sicily.     Elected 


220  THE  DIVINE  COMEDY 

King  of  the  Romans  in  1196.  Became  King  of  Sicily  and  Naples, 
1197.  Emperor,  1212,  He  espoused  the  cause  of  the  Emperor 
Otho  deposed  by  Innocent  III  in  1211.  Excommunicated  by 
Gregory  IX  in  1239.  Undertook  a  crusade  to  Palestine  in  1228, 
and  crowned  himself  King  of  Jerusalem  in  1229.  He  was  deposed 
by  Innocent  IV  in  1245.  He  defied  the  Pope  and  appealed  to  the 
princes  and  kings  of  Christendom.  He  carried  on  the  war  with  the 
Pope  until  his  death  at  Firenzuola  in  1250.  By  birth  he  was  half 
Norman  and  half  German;  by  birthplace,  Italian;  by  residence, 
Sicilian;  by  temperament  and  education,  Italian  rather  than  German. 
He  was  sensual  and  luxurious,  but  vigorous  and  brave  in  war,  and 
astute  in  politics.  The  English  historian  Matthew  Paris  called 
him  "the  wonder  of  the  world."  Professor  Edward  Freeman  says: 
"There  probably  never  lived  a  human  being  endowed  with  greater 
natural  gifts,  or  whose  natural  gifts  were,  according  to  the  means 
afforded  him  by  his  age,  more  sedulously  cultivated."  He  was  an 
accomplished  linguist,  a  student  of  natural  history,  an  intelligent 
and  generous  promoter  of  art  and  literature.  He  restored  and 
endowed  the  University  of  Naples,  and  provided  Arab,  Latin,  Greek, 
and  Hebrew  teachers  for  the  medical  schools  of  Salerno.  He  caused 
the  works  of  Aristotle  and  of  other  ancient  philosophers  to  be  trans- 
lated into  Latin. 

The  correctness  of  Dante's  judgment  in  placing  him  in  the  sixth 
circle  among  Epicurean  infidels  is  not  beyond  question.  The  exact 
nature  of  his  religious  views  it  is  not  easy,  perhaps  not  possible  to 
define.  His  attitude  toward  the  Church,  to  say  nothing  of  his 
intellectual  and  moral  isolation  from  the  current  sentiment  of  the 
thirteenth  century,  would  easily  have  procured  for  him  the  reputa- 
tion of  an  infidel.  Dean  Mibnan's  estimate  is  cautious  and  dis- 
criminating, though  generous.  "It  was  the  shattered,  dubious,  at 
times  trembling  faith,  at  times  desperately  reckless  incredulity,  of  a 
man  under  the  burden  of  an  undeserved  excommunication,  of 
which  he  could  not  but  discern  the  injustice,  but  could  not  quite 
shake  off  the  terrors;  of  a  man  whom  a  better  age  of  Christianity 
might  not  have  made  religious,  whom  his  own  made  irreligious." 
On  the  other  hand,  he  has  been  depicted  as  the  centre  of  a  circle 
of  admirers  by  whom  he  was  regarded  as  the  Messiah  of  a  new 
religion.  Whatever  his  personal  belief,  his  attitude  toward  ecclesi- 
astical questions  was  clearly  defined.  He  professed  and  enforced 
strict  orthodoxy  of  dogma.  He  was  tolerant  to  the  Jew  and  to  the 
Islamite.  He  was  relentlessly  cruel  to  the  Christian  heretic.  If  he 
accepted  Dante's  theory  of  the  coequality  of  Pope  and  Emperor, 
the  attitude  of  the  Popes  was  largely  responsible  for  his  effort  to 
exalt  the  Empire  above  the  Papacy.  The  storj-  that  he  became 
a  Mohammedan  is  a  fable.  Possibly  he  never  formally  abandoned 
all  faith  in  the  Christian  dogmas  as  they  were  understood  in  his  ovm 
age.  It  cannot  be  doubted  that  he  was  at  least  a  free-thinker,  and 
indulged  in  speculations  condemned  by  the  orthodoxy  of  his  age,  and 
that  he  aimed  at  great  changes  in  the  external  fabric  of  the  Church 
and  in  the  relations  between  the  Papacy  and  the  Empire. 

From  the  Oriental  and  Mohammedan  touch  in  the  word  minarets 


NOTES  221 


(viii,  74),  I  am  inclined  to  think  that  Dante  was  somewhat  influenced 
by  the  popular  opinion  that  Frederick  had  become  a  convert  to 
Islamism.  It  is  not  improbable  that  he  was  also  influenced  by 
the  common,  and  largely  unjust  association  of  Epicureanism  with 
sensuality. 

122.  the  cardinal.  Ottaviano  degli  Ubaldini,  the  uncle  of  Arch- 
bishop Ruggieri,  whose  punishment  is  described  in  Cant,  xxxii,  135  ff. 
He  was  Bishop  of  Bologna,  and  Chaplain  of  Pope  Gregory  IX.  He 
attained  great  influence  at  the  Roman  court.  Although  an  ecclesi- 
astic, he  was  a  sturdy  Ghibelline,  so  much  so  that  he  is  said  to  have 
declared:  "If  I  have  a  soul,  I  have  lost  it  a  thousand  times  over 
for  the  Ghibellines. "  He  is  described  as  a  very  sagacious  and 
daring  man,  often  openly  defending  rebels  against  Church  authority. 

139.  the  point  above.  Up  to  the  place  where  Dante  and  Vergil 
were  standing.     Not,  up  to  the  world  above. 

In  reviewing  this  canto  one  recalls  the  words  of  Mrs.  Oliphant  in 
"The  Makers  of  Florence."  "Genius  has  never  proved  its  potency 
so  mightily  as  by  the  way  in  which  so  many  petty  tumults  and 
functionaries  of  the  thirteenth  century,  so  many  trifling  incidents 
and  local  circumstances,  passed  out  of  all  human  importance  for 
the  last  six  hundred  years,  have  been  held  suspended  in  a  fierce  light 
of  life  and  reality,  unable  to  perish  and  get  themselves  safe  into  obliv- 
ion up  to  this  very  day,  in  consequence  of  their  connection  with  this 
one  man." 


CANTO  XI 

It  will  be  convenient,  by  way  of  preface  to  this  canto,  to  present 
at  a  glance  the  scheme  according  to  which  sins  and  punishments 
are  classified  in  the  nether  Hell.  It  will  be  remembered  that  Circle 
VI  forms  the  division  between  the  upper  and  the  lower  Inferno.  In 
the  lower  Inferno  is  punished — 

Malicious  Wickedness; 
of  which  the  end  is 

Injury, 
wrought  by 

Violence, 
Fraud. 
I.  Violence,  Circle  VII. 
Subdivided  into  three  rounds : 

A.  Violence  against  neighbors  • 

Their  persons. 
Their  property. 

B.  Violence  against  self : 

The  person  (suicide), 

The  goods  (prodigal  waste). 

C.  Violence  against  God  : 

By  blasphemy, 
By  unnatural  sin. 


222  THE  DIVINE  COMEDY 

II.  Fraud,  Circles  VIII,  IX. 

A.  Fraud  against  man  as  man,  where  no  special 

tie  exists.     Punished  in  Circle  VIII,  in  the 
ten  pits  of  Malebolge. 

1.  Seducers. 

2.  Flatterers. 

3.  Simoniacs. 

4.  Diviners. 

5.  Barrators. 

6.  Hypocrites. 

7.  Robbers. 

8.  Evil  Coimsellors. 

9.  Schismatics. 
10.  Falsifiers. 

B.  Fraud  against  those  united  by  special  ties. 

Pimished  in  Circle  IX.     Four  rounds  of 
Traitors. 

Caina:        Traitors  to  Kindred. 

Antenora:  Traitors  to  Country. 

Tolomea:  Traitors  to  friends  or  companions. 

Giudecca:  Traitors  to  benefactors. 

1.  embankment.  Forming  the  boimdary  between  the  sixth  and 
seventh  circles. 

3.  keep.  The  word  signifies  "a  prison,  cage,  enclosure."  Some- 
times "a.  coop"  for  chickens.  SarcasticaJly  used  here.  Some 
translate  "a,  throng"  (of  sufferers). 

5.  foul  odor.  If  Dante  is  sensitive  to  color  and  sound,  he  is 
likewise  sensitive  to  odors,  pleasant  and  unpleasant.     See  Inf.  x, 

/138  ;  xvii,  3  ;  xiiii,  107  ;  xxix,  53  ;  Purg.  vii,  83  f. ;  xix,  33 ;  xxii, 
136  ;  xxiii,  67  ;  xxiv,  152  ;  Par.  xvi,  35  ;  xx.  124  ;  xxx,  67. 
8.  Pope  Anastasius.     Dante,  though  a  loyal  churchman,  does  not 
hesitate  to  place  a  Pope  in  Hell.     Celestine  V  is  in  the  vestibule 
with  the  Neutrals;  Nicholas  III  is  in  the  third  Bolgia,  and  Clement 
V  and  Boniface  VIII  are  expected  there.     See  Cant.  xix.     Two  are 
in  Purgatory,  Adrian  V  (Purg.  xix,  99  ff.),  and  Martin  IV  (Purg. 
xxiv,  22-25).     Only  one  is  mentioned  by  name  as  seen  by  Dante 
in  Paradise,  John  XXI  (Par.  xii,  134-135)  ;   and  John  XXII  is  de- 
nounced by  anticipation  along  vnih  Clement  V  (Par.  xxvii,  58). 
In  some  of  these  instances,  Dante  shows  respect  for  the  office  while 
he  reprobates  the  sin.     Thus,  when  he  recognizes   Adrian  V,  he 
falls  on  his  knees;  and  even  in  the  case  of  Boniface  VIII  whom  he 
^  lashes  unsparingly,  he    deprecates  the  insults  heaped  upon  him  at 
.^      Anagni.     See  Purg.  xx,  87-88.      His  denunciation  of  the  abuses 
\      of  the  Papal  See  in  Par.  xxvii,  22  ff.,  is  one  of  the  grandest  passages 
V  inihn  poem. 

/i^nastasius  II  was  Pope  from  496  to  498.  The  Emperor  Zeno 
7(474-491)  had  been  persuaded  by  Acacius,  the  Patriarch  of  Con- 
I  stantinople,  to  prepare  in  482,  a  document  called  "  Henotikon"  or 
y* Unifier,"  the  purpose  of  which  was  to  adjust  the  controversy 
about  the  nature  of  Christ's  person.     For  this  Acacius  was  excom- 


NOTES  223 

municated,  and  his  name  was  ordered  to  be  stricken  from  the  roll 
of  those  who,  after  their  death,  should  be  mentioned  in  the  prayers 
of  the  Church.  Pope  Anastasius,  on  his  accession,  sent  two  Bishops 
to  the  Emperor,  declaring  his  willingness  to  recognize  the  consecra- 
tions performed  by  Acacius  during  his  lifetime.  He  dared  to  doubt 
the  damnation  of  a  Bishop  excommunicated  by  the  See  of  Rome, 
and  wished  to  have  the  name  of  Acacius  passed  over  in  silence  rather 
than  publicly  expunged  from  the  roll  of  the  blessed.  Photinus, 
a  deacon  of  Thessalonica,  came  to  Rome  with  the  purpose  of  pro- 
curing the  restoration  of  Acacius'  name  to  the  roll.  He  was  cor- 
dially received  by  Anastasius.  The  clergy  disagreed  with  the  Pope, 
and  withdrew  their  allegiance.  Thus  arose  the  story  which  Dante 
revived,  that  Anastasius  was  persuaded  to  heresy  by  Photinus. 
The  assertion  that  Dante  is  here  confusing  Pope  Anastasius  with  the 
Emperor  of  that  name  is  without  sufficient  ground. 

17.  these  rocks.  Those  mentioned  in  1.  2,  which  formed  the  bank 
enclosing  the  seventh  circle. 

18.  in  gradation.     Descending  in  stages. 

23.  wickedness.  The  following  distinction  between  sins  of  violence 
and  sins  of  fraud  is  drawn  from  Cicero,  "De  Officiis,"  i,  13. 

27.  an  ill  peculiar.  Because  it  involves  the  use  of  reason  which 
only  man  possesses. 

30.  the  violent.  The  seventh  circle  is  occupied  by  the  Violent 
only,  but  is  subdivided  into  three  minor  circles  or  rounds. 

35.  to  them  and  what  is  theirs.  Violence  may  be  done  either  to 
person  or  to  property. 

50.  denying  him  in  heart.     See  Ps.  xiv,  1. 

51.  his  boimty.     The  bounty  or  goodness  of  God,  not  of  Nature. 
Unnatural  sin  is  here  combined  with  usury:  Sodom  with  Cahors. 

52.  Cahors.  In  the  south  of  France,  on  the  river  Lot.  The  term 
Caorsinus  came  to  be  used  as  synonymous  with  "usurer."  See 
St.  Peter's  denunciation  in  Par.  xxvii,  58,  59. 

53.  54.  speaks  with  his  own  heart.    As  1.  50. 

55.  is  every  conscience  stung.  Not  that  every  one  is  guilty  of 
fraud,  but  that  the  fraudulent  acts  deliberately  and  with  fore- 
thought, and  not  under  the  influence  of  passion;  therefore  he  is 
fully  conscious  of  his  sin. 

56.  a  man  may  practise,  etc.  A  man  can  employ  fraud  upon  one 
who  trusts  him  or  upon  one  who  does  not  trust  him.  In  the  latter 
case,  the  fraud  breaks  merely  the  bond  of  love  which  one  has  for  his 
neighbor  as  being  human  like  himself.  This  class  of  sins  is  punished 
in  the  ten  pits  of  Malebolge  in  the  eighth  circle. 

60.  which  Nature  forms.  The  second  class  of  fraud  ruptures  not 
only  the  natural,  human  bond,  but  the  ties  of  kindred,  friendship, 
etc.,  which  should  create  a  peculiar  bond  of  trustfulness  between 
men.  This  is  treachery,  the  vilest  form  of  fraud,  punished  in  the 
four  ice-bound  rounds  at  the  bottom  of  Hell. 

75.  But  tell  me,  etc.  Dante's  question  is  why  the  tenants  of 
Circles  II,  III,  IV,  V, — the  Lustful,  the  Gluttons,  the  Angry,  and 
the  Misers  and  Spendthrifts — are  not  punished  in  the  lower  instead 
of  in  the  upper  Hell.     He  does  not  see  how  the  classification  laid 


224  THE  DIVINE  COMEDY 


out  by  Vergil  for  the  lower  Hell  explains  the  lighter  punishment  of 
the  upper  circles.  Vergil  in  reply  refers  him  to  the  classification 
of  Aristotle,  that  all  wrong-doing  falls  under  the  categories  of  In- 
continence, Malice,  and  Brutishness,  and  to  his  assertion  that 
Incontinence  is  less  displeasing  to  God,  and  worthy  of  less  rep>- 
rehension.  Aristotle  makes  a  distinction  between  sins  of  impulse 
and  sins  of  deliberate  intellectual  determination,  habitually  pursued, 
in  the  entire  absence  of  passion.  The  former  are  outside  of  "the 
red  city,"  the  latter  within  its  walls.  But  this  Aristotelian  classi- 
fication is  not  carried  further;  and  in  the  scheme  of  the  lower  Hell, 
Cicero  is  followed.  See  note  on  1.  23.  Cicero's  words  are:  "Injury 
is  wrought  in  two  ways :  that  is,  either  by  violence  or  by  fraud;  fraud 
as  of  the  fox,  violence  as  of  the  lion.  Both  are  most  alien  to  man, 
but  fraud  deserves  the  greater  detestation."  Neither  the  classifi- 
cation of  Cicero  nor  that  of  Aristotle  provides  a  place  for  the  sin  of 
the  sixth  circle — infidelity,  especially  in  its  materialistic  aspect.  This 
seems  to  form  an  intermediate  grade,  in  which  the  sin  is  less  flagrant 
than  the  sins  of  violence,  and  graver  than  the  sins  of  impulse. 

100.  usury  offends.  See  1.  51  and  note.  Dante's  question 
Ls  why  the  Usurers  are  classed  with  the  Sodomites.  Vergil  replies 
that  the  operations  of  Nature  originate  with  God  and  with  his  art 
or  process  of  working.  Man's  art  in  acquiring  the  means  of  sub- 
sistence therefore  follows  Nature  as  Nature  follows  God.  Both 
the  natural  and  the  divine  law  are  laid  down  in  Gen.  ii,  15:  "By 
the  sweat  of  thy  brow  shalt  thou  eat  bread."  The  Usurer  "takes 
another  way."  He  strives  to  acquire  wealth  without  labor,  and 
therefore  sins  against  both  God  and  Nature.  Thus  the  Sodomite 
and  the  Usurer  alike  sin  against  Nature. 

118.  the  Fishes.  The  sun  was  now  in  Aries,  which  it  enters 
at  the  vernal  Equinox.  The  Fishes  are  the  zodiacal  sign  preceding 
Aries.  Comp.  Irurg.  i,  22;  xxxii,  54.  The  time  indicated  is  early 
dawn,  between  4  and  5  A.  M. 

119.  the  Wain.  The  constellation  known  as  Ursa  Major  or  the 
Greater  Bear. 

120.  Caurus.  Lit.,  "the  northwest  wind,"  but  used  here  for  the 
northwestern  quarter.     The  Wain  lies  just  upon  the  northwest  line. 


CANTO  xn 

2.  what  was  there.     The  Minotaur. 

4.  that  landslip.  A  tremendous  slide  of  rocks  known  as  the 
Slavini  di  Marco,  between  Ala  and  Roveredo,  on  the  road  from 
Trent  to  Verona.  Albertus  Magnus,  the  Schoolman  and  Dante's  con- 
temporary, in  his  treatise  on  Meteors,  explains  the  cause  of  landslips, 
and  as  one  of  his  illustrations  cites  the  fall  of  a  great  mountain 
between  Trent  and  Verona,  which  fell  into  the  Adige  and  over- 
whelmed villages  and  people  along  a  stretch  of  three  or  four  miles. 

6.  by  earthquake.  Albertus  says  that  mountains  fall  because 
of  earthquakes,  or  from  the  undermming  of  their  bases  by  water. 


NOTES  225 

12,  13.  the  Infamy  of  Crete.  The  Minotaur,  a  monster,  half-man 
and  half-bull.  Pasiphae,  the  wife  of  Minos,  King  of  Crete,  in  order 
to  gratify  her  lust  for  a  bull,  entered  a  wooden  cow.  The  offspring 
was  the  Minotaur,  which  was  kept  in  a  labyrinth  in  Crete,  constructed 
by  Daedalus.  As  a  satisfaction  for  the  murder  of  his  son,  the 
Athenians  were  compelled  by  Minos  to  send  to  Crete  annually,  seven 
youths  and  seven  maidens  to  be  devoured  by  the  beast.  The  mon- 
ster was  finally  slain  by  Theseus,  with  the  help  of  Ariadne,  Minos's 
daughter,  who  provided  him  with  a  sword  and  a  clue  to  the  labyrinth. 
See  Aen.  vi,  24-30.  This  brutal  creature  is  a  fitting  guardian  of  the 
circle  occupied  by  bloody  tyrants. 

17.  the  Duke  of  Athens.    Theseus. 

20.  schooled.  Tutored,  by  Ariadne,  the  daughter  of  Pasiphae  and 
therefore  sister  of  the  Minotaur. 

21.  that  bull.    Comp.  Aen.  ii,  223-4. 

"  Right  as  the  wilde  bole  biginneth  springe 
Now  here,  now  there,  y-darted  to  the  herte, 
And  of  his  death  roreth  in  compleyninge." 

Chaucer,  "  Troilus  and  Criseyde,"  iv.  239  ff. 

24.  plunges.  Lit.,  "skips,  frisks."  A  touch  of  irony.  It  suggests 
the  slang  usage  of  the  word  "waltz." 

27.  the  pass.     Where  the  Minotaur  had  been. 

29.  discharge.  The  original  word,  "unloading,"  is  peculiarly 
graphic,  picturing  a  mass  of  loose  stones  shot  out  down  the  slope 
as  from  a  vast  wagon. 

31.  novel  weight.     Of  a  mortal  body. 

37.  the  other  time.     See  Inf.  ix,  23. 

38.  if  I  rightly  judge.  Vergil  speaks  with  some  hesitation,  as 
one  who  is  not  familiar  with  the  facts  of  Christian  history. 

39.  Dis.     See  note  on  Inf.  viii,  71. 

40.  the  great  prey.  See  Inf.  iv,  52  ff.  The  spirits  of  the  Patri- 
archs. 

42.  so  trembled.  Referring  to  the  earthquake  at  the  time  of  the 
Crucifixion.     Matt,  xxvii,  51. 

43,  44.  there  are  who  think.  Referring  to  the  teaching  of  Em- 
pedocles  (see  note  on  Inf.  iv,  135).  He  held  that  the  world  was 
formed  of  six  principles  or  natural  forces,  viz.,  the  four  elements, 
and  love  and  hatred.  This  formation  was  due  to  discord  between  the 
elements  and  the  motions  of  Heaven,  in  other  words,  by  homogeneous 
matter  separating  itself  from  homogeneous,  to  unite  with  hetero- 
geneous matter.  When,  after  a  certain  time,  the  elements  and  the 
motions  of  Heaven  were  in  agreement,  love,  or  the  tendency  of  like 
to  unite  with  like,  was  generated;  and  thus  the  world  was  resolved 
into  chaos,  with  a  tremendous  convulsion.  Vergil,  feeling  Hell 
tremble,  supposed  that  Empedocles'  opinion  was  correct:  that  by 
force  of  natural  love  the  links  had  been  broken,  and  the  heteroge- 
neous parts  dispersed  to  unite  with  the  homogeneous  ones,  and  that 
the  universe  had  again  resolved  itself  into  chaos. 

46.  here  and  elsewhere.     See  Inf.  xxiii,  141-142. 

48.  the  river  of  blood.    Phlegethon.    See  Inf.  xiv,  130-136. 


226  THE  DIVINE  COMEDY 

55.  as  that.  The  arc  which  they  saw  was  a  segment  of  a  circular 
trench  compassing  the  entire  plain. 

57.  'twixt  the  bottom.  The  foot  of  the  bank  which  they  had  just 
descended  was  separated  by  a  space  from  the  margin  of  the  river 
of  blood. 

58.  Centaurs.     Half-horses  and  half-men. 

"  Until  at  last  in  sight  the  Centaur  drew, 
A  mighty  grey  horse,  trotting  down  the  glade. 
Over  whose  back  the  long  grey  locks  were  laid. 
That  from  his  reverend  head  abroad  did  flow  ; 
For  to  the  waist  was  man,  but  all  below, 
A  mighty  horse." 

William  Morris,  "  Jason." 

62.  shafts.     Properly  "long  arrows." 

already  picked.     Selected  before  they  separated  from  the  group. 
65.  from  where  you  are.     Do  not  advance  toward  us.    Comp. 
Purg.  Lx,  85-87,  and  Aen.  vi,  388-389. 

69.  Nessus.  Nessus  was  the  ferr>^man  at  the  Evenus,  a  river 
of  Aetolia.  He  is  described  in  the  "Trachiniae"  of  Sophocles, 
559  ff.  "Who  used  to  carry  men  in  his  arms  for  hire  across  the 
deep  waters  of  the  Evenus,  using  no  oar  to  waft  them,  nor  sail  of 
ship." 

70.  Deianira.  The  second  wife  of  Hercules.  While  journeying 
with  her  husband  from  Calydon  to  Trachis,  Nessus,  at  the  ford 
of  the  Evenus,  attempted  to  outrage  her,  and  was  shot  by  Hercules 
with  a  poisoned  arrow. 

71.  wreaked  vengeance.  When  dying,  Nessus  gave  to  Deianira 
a  shirt  stained  with  his  poisoned  blood,  and  told  her  that  if  her 
husband  should  prove  imfaithful,  it  would  be  the  means  of  restoring 
him.  Hercules  became  infatuated  with  lole,  and  Deianira  sent 
him  the  garment,  and  the  poison  destroyed  him.  The  whole  passage 
is  drawn  from  Ovid,  Metam.  ix,  101  ff. 

72.  Chiron.  Chiron  was  the  most  celebrated  of  the  Centaurs. 
Homer,  II.  xi,  832,  describes  him  as  "the  most  just  of  the  Centaurs." 
He  was  the  instructor  of  Jason,  Hercules,  Aesculapius,  and  Achilles. 

74.  so  full  of  wrath.  Vergil,  Geor.  ii,  456,  speaks  of  Pholus  as 
one  of  "the  raging  Centaurs." 

77,  78.  more  than  its  sin  allots  it.  The  offenders  are  immersed 
at  different  depths,  according  to  the  degree  of  their  guilt. 

79.  Chiron  took  a  shaft,  etc.  One  of  the  finest  pictures  in  all 
poetry. 

notch.  The  notch-end  of  the  arrow.  The  word  is  also  used  for 
the  arrow  itself.     See  Inf.  xyu,  136. 

88.  necessity.  Since  this  journey  was  the  only  means  of  restoring 
Dante  to  a  righteous  life.     See  Inf.  i,  88  f.     Purg.  i,  59-65. 

89,  90.  one  who  laid  on  me,  etc.     Beatrice.     Inf.  ii,  67-70. 

92.  a  robber's  sold.  Nor  am  I  the  spirit  of  a  robber  who  violently 
seizes  others'  goods,  like  those  in  this  circle. 

95.  we  may  keep  near.  Interpretations  differ.  Some  explain: 
"to  whom  we  may  be  approved  and  held  dear."     One  modem 


NOTES  227 


commentator  says  that  the  phrase,  in  the  sense  of  "near,"  is  still 
in  use  among  the  people  about  Genoa. 

106.  tjnrants.  Their  sufferings  are  described  by  Dante  without 
comment.  "It  is  seldom  that  his  narrative  is  so  absolutely  ret- 
icent and  colorless  in  respect  of  the  effect  produced  upon  himself, 
as  it  is  here." — Moore. 

109.  Alexander.  It  is  disputed  whether  the  reference  is  to  Alex- 
ander the  Great,  Alexander  of  Pherae,  B.C.  368-359,  notorious 
for  his  ferocity  (see  Cicero  "De  Officiis,"  ii,  7),  or  Alexander  Balas, 
who  gave  himself  out  as  the  son  of  Antiochus  Epiphanes,  laid  claim 
to  the  throne  in  Antioch,  was  defeated  near  Antioch  by  Jonathan 
the  Maccabee,  and  died  B.C.  145.  The  reference  to  Alexander  of 
Pherae  is  pressed  on  the  ground  of  his  being  coupled  with  Dionysius 
in  the  passage  in  Cicero  above.  But  in  that  passage  he  is  not  cited 
as  an  illustration  of  tyranny,  but  of  suspiciousness.  There  can  be 
no  doubt,  however,  that  Alexander  of  Pherae  was  well  entitled  to 
a  place  in  the  river  of  blood.  Grote  says  he  was  "the  greatest 
potentate  in  Thessaly,  as  well  as  the  most  sanguinary  tyrant, 
until  the  time  of  his  death."  It  is  related  of  him  that  he  used  to 
clothe  his  victims  in  the  skins  of  wild  beasts  and  have  them  worried 
by  his  hounds.  Against  the  reference  to  Alexander  the  Great,  it 
is  urged  that  Dante  in  his  other  works  speaks  of  him  with  high  praise; 
lauding,  for  instance,  his  royal  beneficence  in  Conv.  iv,  11,  7.  But, 
as  Mr.  Butler  aptly  remarks,  such  words  are  offset  by  Dante's 
citing  Bertrand  de  Bom  along  with  Alexander,  as  one  of  the  world's 
generous  benefactors,  while  he  none  the  less  puts  Bertrand  in  the 
ninth  pit  of  Malebolge.  Lucan  and  Orosius,  both  favorite  authori- 
ties of  Dante,  speak  in  the  strongest  terms  of  Alexander's  tyranny 
and  cruelty.  Alexander  the  Great  is  not  among  the  great  shades 
in  Limbo,  and  it  is  not  probable  that  Dante  would  have  referred 
here  to  a  comparatively  inconspicuous  personage  without  adding 
something  to  distinguish  him  from  one  whose  name  was  universally 
familiar. 

Dionysius.     B.C.  405-365.     The  tyrant  of  Syracuse. 

112.  Azzolino.  Azzolino  or  Ezzelino  da  Romano,  1194-1259. 
son-in-law  of  the  Emperor  Frederick  II,  and  chief  of  the  Ghibellines 
of  upper  Italy.  His  sister  Cunizza  in  Paradise  alludes  to  him  as 
"a  firebrand."  Par.  ix,  28-31.  He  was  lord  of  the  March  of 
Treviso,  and  was  guilty  of  the  foulest  atrocities.  A  graphic  de- 
scription of  his  cruelties  may  be  found  in  Mr.  J.  A.  Symonds's 
"Renaissance  in  Italy,"  Vol.  I,  p.  97  ff.     Vol.  IV,  p.  280. 

113.  Obizzo  of  Esti.  1264-1293.  Marquis  of  Ferrara  and  of  the 
March  of  Ancona.  A  Guelf.  The  accent  of  "Esti"  falls  on  the 
last  syllable. 

120.  boiling  stream.  The  word  hulicame,  as  a  common  noun, 
occurs  only  here  and  in  1.  129.     In  Inf.  xiv,  77,  it  is  a  proper  name. 

122.  cleft  the  heart.  Guy  de  Montfort,  son  of  Simon  de  Montfort 
and  Eleanor,  daughter  of  King  John  of  England.  In  1271  he 
murdered  his  first  cousin.  Prince  Henry,  son  of  Richard,  duke  of 
Cornwall,  and  consequently  nephew  of  Henry  III  of  England. 
The  murder  was  perpetrated  in  the  church  of  San  Silvestro  at 


228  THE  DIVINE  COMEDY 

Viterbo.  The  crime  was  committed  at  mass,  it  waa  said  at  the 
Elevation  of  the  Host.  Hence  the  expression,  "in  the  bosom  of 
God." 

123.  on  the  Thames  is  venerated.  The  word  rendered  "is  vener- 
ated," is  by  some  editors  explained  "continues  to  drip  blood." 
The  reference  is  to  an  unfounded  story  that  Henry's  heart  was 
enclosed  in  a  gold  casket  and  placed  on  a  pillar  on  London  Bridge. 
The  stoiy  is  told  by  Villani,  Cron.  vii,  39.  The  murderer  is  pictured 
as  standing  alone  on  one  side,  either  because  of  the  special  enormity 
of  his  crime,  or  because,  being  an  Englishman,  his  race  and  country 
were  remote.  Comp.  Saladin,  Inf.  iv,  126,  and  Sordello,  Purg.  vi, 
62.  The  passage  iUustrates  Dante's  habit  of  indicating  cities  or 
towns  by  the  names  of  their  rivers.  See  Inf.  xxvii,  54;  xv,  112; 
Par.  vi,  58-60. 

135.  Attila.  King  of  the  Huns,  A.D.  434-453.  Known  as  "  the 
scourge  of  Grod."  His  portrait  is  very  finely  drawn  by  Mr.  T.  Hodgkin 
in  the  second  volume  of  "Italv  and  Her  Invaders. " 

136.  Pyrrhus.  Pyrrhus,  Kmg  of  Epirus,  B.C.  318-272.  He 
invaded  Italy  in  280,  at  the  in^'itation  of  the  Tarentines  to  assist 
them  in  their  war  against  the  Romans.  He  defeated  the  Roman 
army  near  Heraclea.  In  279  he  gained  another  victory.  He  went 
to  Sicily,  where  he  remained  for  two  years,  returned  to  Italy  in 
276,  and  in  275  was  utteriy  defeated  near  Beneventum,  and  was 
forced  to  leave  Italy,  After  some  enterprises  in  Greece,  he  was 
slain  in  242.  He  was  the  greatest  warrior  of  his  time,  and  wrote 
a  work  on  the  art  of  war.  He  is  placed  in  Hell  because  of  his  in- 
vasion of  Italy. 

Sextus.  Sextus  Pompey,  the  younger  son  of  Pompey  the  Great. 
Bom  B.C.  75.  In  the  civil  wars  which  followed  the  assassination 
of  Julius  Caesar  (B.C.  44),  he  obtained  a  large  fleet  which  enabled 
him  to  stop  all  the  supplies  of  com  brought  to  Rome  from  Egypt 
and  the  Eastern  provinces.  Owing  to  the  scarcity  which  was  thus 
caused  in  the  city,  the  Triumvirs  were  compelled  to  make  peace 
with  him  in  B.C.  39.  The  war,  however,  was  renewed  the  next 
year,  and  in  36  he  was  defeated  and  put  to  death.  Dante  puts  him 
m  Hell  on  account  of  his  piracies. 

136.  forever  draws.  The  sense  is:  Divine  justice  causes  to 
flow  the  tears  which,  by  means  of  the  boiling  heat  of  the  bloody 
river,  it  extorts  from  Rinier,  etc. 

138.  Rinier  da  Cometo;  Rinier  Pazzo.     Two  noted  highwaymen. 


CANTO  xin 

1.  the  other  side.    The  side  to  which  he  was  retuming  after 
lea\'ing  the  poets. 
4.  not  branches  smooth. 

"  With  knotty  knarry  bareyn  trees  olde 
Of  stubbes  sharpe  and  hidous  to  biholde.' 

Chaucer,  "  Knighte's  Tale,"  1977. 


NOTES  22^ 

8,  9.  between  Caecina  and  Corneto.  The  district  between  the 
mountains  of  Tuscany  and  the  sea,  known  as  Maremma,  which  is 
Maritima,  or  the  coast-land.  From  its  low  situation  and  want  of 
drainage  it  was  infected  with  malaria.  In  the  wider  sense,  the 
name  covered  the  whole  strip  along  the  western  coast  of  Italy,  from 
the  Gulf  of  Spezzia  to  the  Gulf  of  Salerno.  In  the  narrower  sense, 
it  is  where  Dante  places  it,  where  the  malaria  most  prevails.  Bas- 
sermann  says:  "I  am  especially  familiar  with  the  wood  southward 
from  Massa;  and  the  picture  of  the  Maremma  which  Dante  sketches 
answers  to  it  only  too  well.  An  uneasy,  oppressive  feeling  seizes 
us  when  these  bush-woods  surround  us.  There  is  nothing  of  the 
cheerful,  mild  poetry  of  our  forest;  no  spacious  vistas  and  mossy 
resting-places.  In  whatever  direction  we  go,  we  are  surrounded 
with  thick,  vicious  underwood,  mostly  stone-oaks  and  cork-oaks, 
with  their  tangled  branches  and  the  dusky  green  of  their  hard, 
leathern  leaves.  Our  path  follows  it  without  end  or  break;  and 
if  occasionally  a  tree  appears  overhead,  it  is  a  deformed  monster 
which  writhes  upward  out  of  the  confusion,  with  wrathfully  distorted 
masses  of  limbs.  The  forests  of  Maremma  cannot  to-day  be  better 
described  than  in  Dante's  words;  and  the  fancy  is  moved  involun- 
tarily to  invest  with  life,  as  he  has  done,  the  very  tree-forms 
which  start  up  from  the  thicket. "  ("  Dante's  Spuren  in  Italien. ") 
The  Maremma  appears  in  Inf.  xxv,  20,  as  the  haunt  of  serpents; 
in  Inf.  xxix,  51,  as  a  sickly  region;  in  Purg.  v,  143,  as  destroying 
life  with  its  poisonous  atmosphere. 

10.  Harpies.  The  word  means  "snatchers,"  and  was  used  by 
Homer  to  personify  whirlwinds  or  hurricanes,  and  to  symbolize  the 
sudden  and  total  disappearance  of  men.  The  conception  adopted 
by  Vergil  and  Dante  is  later. 

11.  the  Strophades.  The  Strophades  were  two  islands  in  the 
Ionian  sea  off  the  coast  of  Messenia.  The  name,  which  is  derived 
from  the  Greek  verb  "to  turn,  "  was  connected  with  the  return  of 
the  sons  of  Boreas  from  these  islands  to  which  they  had  pursued 
the  Harpies.  Aeneas  and  his  companions  touched  there  on  their 
voyage  to  Italy.  The  Harpies  defiled  their  tables,  and  one  of 
them  solemnly  predicted  disaster  to  the  Trojans.  See  Aen.  iii, 
210-258. 

19.  the  dreadful  sand.     In  the  third  round.     See  Inf.  xiv,  8-15. 

24,  25.  I  think  that  he  thought.  For  similar  plays  on  words,  see 
Inf.  xiii,  68;  xxvi,  70-71;  xxx,  140-141;  Purg.  xx,  1;  Par.  v,  139. 

41.  drips.  The  word  means  primarily  "to  distil  drops,"  or  "to 
send  forth  bubbles."  Mr.  Vernon  says  that  in  the  Florentine 
market  the  cheese-sellers,  praising  their  Parmesan,  cry,  "Guardi  '1 
bel  Parmegiano!  lo  vedi  come  geme!"  ("See  the  fine  Parmesan! 
See  how  it  sends  out  drops  of  moisture!")  They  also  use  piange 
"weeps,"  in  the  same  sense. 

46.  could  have  believed.  Vergil  means  that  if  Dante  could  have 
accepted  the  story  of  Polydorus  in  the  Aeneid  as  true,  and  had  not 
regarded  it  as  a  fable,  he  would  not  have  broken  the  twig;  but  that 
he  (Vergil)  stretched  his  own  conscience  in  telling  Dante  to  break 
it,  in  order  to  convince  him  of  the  fact. 


230  THE  DIVINE  COMEDY 

58.  I  am  the  one,  etc.  Pier  delle  Vigne  or  Petrus  de  Vinea, 
minister  of  Frederick  II.  In  1247,  he  was  Frederick's  private 
secretary  and  confidential  adviser.  On  the  suspicion  of  having 
intrigued  with  the  Pope  to  poison  the  Emperor,  he  was  blinded  and 
thro\NTi  into  prison,  where  he  committed  suicide.  Dante,  with 
many  others,  believed  that  he  was  the  victim  of  jealousy  and  slander. 
No  documentary  evidence  has  ever  been  produced  against  him, 
and  no  reason  for  his  treachery  has  appeared.  He  was  a  poet, 
and  is  credited  with  the  invention  of  the  sonnet.  See  "Vie  et  Cor- 
respondance  de  Pierre  de  la  Vigne,  Ministre  de  V  Empereur  Frederic 
II."  Par  A.  Huillard-BrehoUes.  Paris,  1866. 
65.  the  harlot.     En\y. 

"  En\^e 
Is  lavender  in  the  grete  court  alway. 
For  she  ne  parteth,  neither  night  ne  day, 
Out  of  the  ho  VIS  of  Caesar  ;  thus  seith  Dante." 

Chaucer,  "  Legend  of  Good  Women,"  Prologue,  333  ff. 

68.  Augustus.  Frederick,  The  name  Augustus  was  commonly 
given  to  the  Roman  emperors  from  Octavianus  do\sTi,  Dante 
uses  it  as  the  proper  name  of  Octavianus,  Inf.  i,  68;  Purg.  xxix, 
116. 

70.  taste  of  scorn.  Through  his  own  disdainful  feeling.  In 
the  Italian,  Dante  plays  on  the  words  "scornful"  and  "disdain." 

75.  of  honor  so  deserving.  The  tribute  thus  paid  to  the  master 
who  had  so  unjustly  and  cruelly  treated  him,  is  most  touching. 

84.  such  pity  moves.  This  is  one  of  the  few  instances  where 
Dante's  compassion  absorbs  every  other  feeling. 

87,  88.  whate'er  thy  words  entreat  of  him.  The  vindication  of 
his  memory  in  the  world. 

100.  spelt.  A  kind  of  oats  with  a  very  small  brown  grain  which 
throws  out  a  great  many  sprouts. 

103.  a  vent.     Lit.,  "a  wmdow." 

104.  our  spoils.  Our  bodies,  to  be  reclaimed  at  the  last  Judg- 
ment. 

105.  but  not  that  anyone  may  clothe.  The  law  which  ordains 
that  the  original  bod}'  shall  be  resumed  at  the  Judgment,  does  not 
apply  in  the  case  of  the  Suicides,  since  "it  is  not  just  that  one  should 
have  that  of  which  he  deprives  himself."  They  will  bring  their 
bodies  to  the  forest,  where  each  will  be  suspended  on  the  tree  in 
which  the  spirit  has  been  confined. 

110.  its  shade  harassed.  Because  it  is  owing  to  the  soul  that 
the  body  has  been  slain. 

Now  follows  the  punishment  of  those  who  have  done  violence 
to  themselves  by  squandering  their  property. 

113.  like  one,  etc.  A  very  striking  simile  of  one  who  hears  a  band 
of  huntsmen  in  pursuit  of  a  wild  boar,  crashing  tlirough  the  trees 
and  bushes,  with  the  pack  of  hounds  in  full  crj^ 

118.  hurdle.  The  meaning  is  disputed.  Originally  it  appears 
to  have  signified  "a  fan"  or  "  a  screen."  It  was  used  of  a  green 
branch  employed  to  drive  away  flies.  Others  explain  it  as  a  hedge 
of  trees. 


NOTES  231 


119.  hasten,  death.  Hasten,  Death,  to  relieve  me  of  torment 
by  extinction. 

121.  Lano.  A  Sienese  gentleman  of  extravagant  habits.  He  is 
said  to  have  been  a  member  of  "the  Spendthrift  Brigade"  of  Siena, 
which  flourished  in  the  second  half  of  the  thirteenth  century  (see 
Inf.  xxix,  128-132),  and  which  consisted  of  twelve  members,  each 
of  whom  contributed  a  large  sum  to  a  common  fund  of  which  they 
were  sworn  to  spend  lavishly.  They  hired  a  splendid  palace,  and 
gave  the  most  costly  entertainments,  accompanied  with  superb 
presents  to  guests.  One  of  their  freaks  was  to  fling  out  of  the 
window  the  gold  and  silver  table-furniture,  as  soon  as  the  banquet 
was  ended. 

122.  II  Toppo.  The  story  was  that  Lano,  who  had  ruined  him- 
self by  his  extravagance,  served  at  the  battle  of  the  Toppo,  a  ford 
near  Arezzo,  where  the  Sienese  were  routed  by  the  Aretines,  and 
that  he  refused  to  flee,  courting  certain  death.  The  point  of  the 
gibe  is  that  if  at  the  Toppo  he  had  run  as  fast  as  he  is  running  now, 
he  would  have  escaped.     His  death  was  really  suicide. 

124.  he  made  a  group.  The  one  who  had  addressed  Lano  hid 
himself  in  a  bush,  so  that  the  bush  and  he  formed  but  a  single 
object. 

133.  Jacomo  da  Sant*  Andrea.  A  Paduan.  He  appears  to  have 
been  noted  for  reckless  prodigality,  and  was  supposed  to  have  been 
put  to  death  by  Ezzelino.  See  note  on  Inf.  xii,  112.  He  also 
appears  to  have  had  an  incendiary  mania,  setting  on  fire  not  only 
others'  houses,  but  his  own.  The  spirit  imprisoned  in  the  bush 
in  which  Jacomo  has  taken  refuge  is  another  Suicide  whose  name  is 
not  given. 

141.  my  leaves  dissevered.  By  Jacomo' s  forcing  himself  into 
the  bush. 

144.  her  first  patron.  The  god  Mars  was  the  original  patron 
of  Florence.  A  temple  is  said  to  have  been  erected  to  him  in  the 
time  of  Augustus.  "And  they  caused  to  be  brought  white  and 
black  marbles  and  columns  from  many  distant  places,  by  sea  ;  and 
then,  by  the  Amo,  they  brought  stone  and  columns  from  Fiesole, 
and  founded  and  built  the  said  temple  in  the  place  anciently  called 
Camarti,  and  where  the  Fiesolans  held  their  market.  Very  noble 
and  beautiful  they  built  it,  with  eight  sides,  and  when  it  had  been 
built  with  great  diligence,  they  dedicated  it  to  the  god  Mars  who 
was  the  god  of  the  Romans;  and  they  had  his  effigy  carved  in  marble 
in  the  likeness  of  an  armed  cavalier  on  horseback;  they  placed  him 
on  a  marble  pillar  in  the  midst  of  that  temple,  and  held  him  in  great 
reverence,  and  adored  him  as  their  god  so  long  as  Paganism  con- 
tinued in  Florence. "  Villani,  Cron.  i,  42.  The  change  of  patron  was 
marked  by  the  conversion  of  this  temple  into  the  church  of  St.  John 
the  Baptist,  the  old  cathedral  of  Florence,  now  the  Baptistery, 
which  Dante  calls  "my  fair  Saint  John."     Inf.  xix,  17. 

147.  on  the  crossing  of  the  Amo.     On  the  Ponte  Vecchio.     "And 
from  the  noble  and  beautiful  temple  of  the  Florentines     .     . 
the  Florentines  removed  their  idol,  which  they  called  the  god  Mars, 
and  placed   it  upon   a   high   tower  by   the  river  Amo.     .     .     . 


232  THE  DIVINE  COMEDY 


And  although  the  Florentines  had  lately  become  Christians,  they 
still  obsers-ed  many  Pagan  customs,  and  long  continued  to  obsen'^e 
them,  and  they  stiU  stood  in  awe  of  their  ancient  idol  of  Mars." 
Villani,  Cron.  i,  60.  It  was  said  that,  after  the  destruction  of 
Florence,  the  statue  of  Mars  feU  into  the  Amo  and  remained  there 
as  long  as  the  city  continued  in  ruins.  When  the  city  was  rebuilt 
by  Charies  the  (Jreat,  the  statue  was  recovered,  and  was  set  up 
again  on  a  column  on  the  bank  of  the  river  w^here  the  Ponte 
Vecchio  was  afterward  built.  Par.  xvi,  47.  It  was  carried  away 
by  a  flood  in  1333. 

149.  those  citizens.  Villani  says  that  the  Romans  decreed  that 
members  of  the  best  families  in  Rome  should  go  to  Florence  to 
rebuUd  and  inhabit  it,  which  was  done;  and  that  all  they  who  dwelt 
in  the  countn'^  around  Florence,  and  her  exiled  citizens  in  every 
place,  gathered  themselves  to  the  host  of  the  Romans  and  of  the 
Emperor  to  rebuild  the  city.  Probably  it  is  to  these  exiled  citizens 
that  Dante  refers  here, 

151.  Attila  Attila  did  not  destroy  Florence  or  come  near  it.  It 
is  said  that  Dante  confounded  Attila  with  Totila,  King  of  the  Ostro- 
goths. Totila  set  out  to  besiege  Florence  in  A.D.  542;  but  the 
siege  was  soon  raised,  and  Florence  never  fell  uito  the  hands  of 
the  Goths.     See  Hodgkm,  "Italy  and  Her  Invaders,"  iv,  396,  399. 

152.  I  made  myself  a  gibbet.  Hung  myself  at  home.  The  name 
Giubetto  was  given  to  a  house  in  Paris  where  executions — behead- 
ing, hanging,  etc.,  were  performed. 


CANTO  XIV 

1.  Affection.  Dante's  love  for  his  native  country  prompts  him 
to  comply  with  the  request  of  the  shade  (Cant,  xiii,  141-142)  who 
was  a  Florentine. 

4.  the  boimdary.     Of  the  forest. 

5.  from  the  third  the  second  roimd.  They  have  reached  the 
third  round  of  the  seventh  circle  (see  preliminary  note  to  Cant.  xi). 
Here  are  punished  the  Violent  against  God.  Such  violence  may  be 
offered  to  God  Himself  (blasphemy),  or  to  Nature,  the  ministress  of 
God  (Sodomy),  or  to  God's  gifts  through  Nature  (Usur}^. 

12.  a  stretch  of  sand. 

"  Then  saw  I  but  a  large  feld, 
As  fer  as  that  I  mighte  see, 
Withouten  toun  or  hous,  or  tree, 
Or  bush,  or  gras,  or  ered  lond  ; 
For  al  the  feld  was  but  of  sond 
As  smal  as  man  may  see  yet  lye 
In  the  desert  of  Libye." 

Chaucer.  "  Hous  of  Fame,"  482  ff. 

14.  Gate.  Marcus,  sumamed  Cato  the  Less,  and  Cato  Uticensis, 
from  his  death  at  Utica.  Born  B.C.  93.  When  the  rupture  be- 
tween Pompey  and  Caesar  occurred,  he  took  the  side  of  Pompey. 


h 


NOTES  '  233 

He  was  not  present  at  Pharsalia,  B.C.  48,  where  Pompey  was 
defeated.  He  went  to  Africa,  hoping  to  meet  Pompey,  but  heard 
of  his  death,  and  also  that  Pompey 's  father-in-law,  Scipio,  had 
gone  to  join  Juba  the  King  of  Mauretania.  In  order  to  meet  Scipio, 
Cato  was  compelled  to  make  a  long  and  painful  march  across  a 
desert,  in  which  his  troops  suffered  severely.  This  is  what  Dante 
alludes  to.     See  Lucan,  Phars,  ix,  371-378. 

20.  diverse  law  seemed,  etc.  That  is,  the  three  classes  of  trans- 
gressors were  punished  in  different  ways,  and  with  different  degrees 
of  severity.  The  Blasphemers  lie  supine;  the  Sodomites  are  in 
continued  motion;   the  Usurers  sit  hunched  up. 

25,  26.  freer  were  their  tongues,  etc.  Those  who  are  lying  down 
utter  louder  cries.  The  tongues  which,  in  life,  were  loud  in  blas- 
phemy, are  here  loosed  in  imprecations. 

o'er  all  the  sand.  The  fiery  rain  descended  upon  the  sinners  of 
all  grades. 

27.  dilated  flakes  of  fire.  Appropriate  to  the  Sodomites.  See 
Gen.  xix,  24.  Fire  is  applied  in  Purgatory  to  the  same  offence. 
See  Purg.  xxvi,  30  ff. 

28.  snow-flakes.  There  is  a  reminder  here  of  Homer,  B.  xii, 
278  ff. 

"  As  when,  upon  a  winter  day,  the  flakes 
Of  snow  fall  thick,  when  Zeus  the  Counsellor, 
His  shafts  to  men  displaying,  has  begun 
To  snow,  and  having  laid  the  winds  to  rest, 
Unceasing  pours  it  down." 

The  picture  is  very  striking.  The  fire  falls  in  broad  flakes, 
"dilated."  When  there  is  no  wind,  the  snow-flakes  are  broad.  A 
wind  cuts  them  into  small  bits. 

30.  Alexander.  Dante  drew  this  story  from  a  fictitious  letter 
of  Alexander  to  Aristotle,  entitled :  "  A  Letter  of  Alexander  the  King 
to  Aristotle  his  Teacher,  concerning  the  Marvels  of  India."  Dante 
probably  found  this  passage  of  the  letter  in  Albertus  Magnus's 
"  Treatise  on  Meteors"  (see  note  on  Inf.  xii,  4).  In  the  letter,  how- 
ever, the  story  is  that  snow  fell,  which  Alexander  ordered  his 
soldiers  to  trample  down.  This  was  followed  by  rain,  and  then 
fiery  clouds  like  torches  were  seen  to  descend  from  heaven,  and  the 
soldiers  were  ordered  to  tear  their  clothes  and  extinguish  the  flames 
with  them.  It  is  easy  to  see  how  the  confusion  in  Dante's  account 
came  about. 

29.  those  torrid  climes.  That  is,  through  India,  which  is  a  torrid 
region.  Not  the  hot  parts  of  India  through  which  Alexander's 
march  lay. 

35.  So  was  descending.  No  translation  can  give  the  full  effect 
of  this  line,  which  in  its  structure  and  movement  conveys  the  slow, 
steady  descent  of  the  fiery  flakes.  It  is  impossible  to  read  the 
Italian  line  rapidly;  and  the  contrast  is  very  striking  with  the  quick 
movement  and  crackle  of  the  two  succeeding  lines  which  describe 
the  kindling  of  the  sand  like  tinder  under  steel. 

38.  dance.     The  "dance"  of  the  hands.     A  graphic  picture  of 


234  THE  DIVINE  COMEDY 


the  hands  moving  rapidly  to  and  fro.  Tresca  was  a  brisk,  unrhyth- 
mical dance  in  which  the  hands  were  much  used. 

41.  freshly  fallen.     Continually  renewed. 

45.  that  mighty  soul.  This  was  Capaneus,  one  of  the  seven  myth- 
ical heroes  who  marched  against  Thebes.  While  in  the  act  of 
scaling  the  walls,  he  was  struck  with  lightning  by  Zeus,  because 
he  had  dared  to  defy  the  Thunderer.  Aeschylus  thus  describes 
him:  "This  is  a  giant  greater  than  the  other  aforementioned, 
and  his  boast  savors  not  of  humanity;  but  he  threatens  fearful 
things  against  our  towers,  which  may  Fortune  not  bring  to  pass; 
for  he  declares  that  whether  the  god  is  willing  or  unwilling,  he 
will  lay  waste  our  city,  and  that  not  even  the  wrathful  bolt  of  Zeus 
darting  down  upon  the  ground  shall  stop  him.  And  he  is  wont  to 
compare  both  the  lightnings  and  the  thunderbolts  to  the  heat  of 
noontide."  "Seven  against  Thebes,"  411-418.  See  also  427-432. 
Dante  took  the  story  from  Statins,  Theb.  x,  897-918. 

48.  mellow.     Make  more  submissive. 

52.  his  smith.     Vulcan,  who  forged  the  thunderbolts  of  Zeus. 

52.  in  his  anger.     Aroused  by  the  threats  of  Capaneus. 

55.  the  others.     The  other  workmen,  the  Cyclopes. 

56.  Mongibello.  Aetna:  where  Vulcan  was  supposed  to  have 
his  forge.     See  Aen.  xiii,  416-438. 

57.  Phlegra.  In  Thrace,  where,  according  to  the  legend,  Zeus 
defeated  and  slew  the  giants  who  attempted  to  storm  Olympus. 

60.  spoke  with  energy.  Vergil's  indignation  is  roused  by  the 
contumacious  blasphemy  of  Capaneus. 

63.  no  torment  save  thy  rage.  No  torment  would  be  equal  to 
your  own  impotent  rage.     See  1.  70. 

70.  ornaments,  etc.  Ironical.  His  fury  is  represented  as  a 
decoration  upon  his  breast. 

75.  a  little  brook.  This  is  Phlegethon,  at  which  they  arrived 
after  descending  the  slope  to  the  seventh  circle  (Cant,  xii,  47-48). 
Here  they  strike  it  again,  where  it  issues  from  the  forest  of  the 
Suicides. 

77.  Bulicame.  A  sulphurous,  boiling  spring,  two  miles  west 
of  Viterbo.  From  this  issued  a  brook  which  formed  a  bath  sup- 
posed to  have  medicinal  qualities,  and  much  frequented  by  invalids. 
In  its  course  the  stream  traversed  a  quarter  to  which  public  prosti- 
tutes were  confined.  Being  forbidden  to  use  the  baths  to  which 
other  women  resorted,  they  had  the  water  conducted  into  their 
houses.  This  is  what  Dante  refers  to  in  the  phrase  "divide  among 
themselves."  Bassermann  ("Dante's  Spuren  in  Italien")  says 
that  the  source  is  on  a  low,  bare  hiU,  from  which,  probably,  are 
derived  the  copious  deposits  of  the  water.  The  spring  is  a  sparkling, 
steaming  pit  of  perhaps  three  metres  in  diameter,  the  water  of 
which  is  almost  too  hot  for  the  hand  to  bear.  From  it  radiate 
five  streams,  all  steaming,  and  bordered  on  each  of  their  sides  with 
rims  of  snow-white  sediment.  The  petrifaction  goes  on  very 
rapidly.  Some  channels  lie  considerably  higher  than  the  meadow- 
ground  of  the  hill,  from  which  they  sharply  detach  themselves. 
Occasionally  the  deposits  completely  close  the  channels  and  take 


NOTES  235 

their  place.  Others  are  artificially  deepened,  and  in  these  the 
steaming  cascades  take  their  way  between  margins  of  blinding 
white  or  intense  yellow,  in  a  way  quite  diabolical.  The  petri- 
faction is  alluded  to  in  11.  80-81. 

90.  give  me  freely  the  repast.  Dante  asks  that,  as  Vergil  has 
awakened  great  curiosity  in  him,  he  will  satisfy  it  in  corresponding 
measure. 

Vergil  now  describes  the  origin  of  the  infernal  rivers. 

92.  a  barren  land.  Probably  by  comparison  with  former  times, 
since  Crete,  originally,  was  populous  and  fertile.  Boccaccio  says 
that  in  his  time  the  Venetians  were  oppressing  Crete,  had  driven 
out  many  of  the  former  inhabitants,  and  had  turned  a  great  part 
of  the  soil  into  pasture,  or  had  caused  it  to  lie  fallow. 

93.  Crete.     Now  Candia  in  the  Mediterranean, 
whose  king.     Saturn. 

94.  was  innocent.     See  Aen.  viii,  319  ff. 

95.  Ida.     See  Aen.  iii,  104-113. 

97.  Rhea.  Also  known  as  Cybele.  According  to  the  Greek 
legends  she  represented  the  fruitfulness  of  Nature.  She  was  the 
mother  of  Zeus,  to  whom  she  gave  birth  in  a  cave  on  Mt.  Ida,  where 
she  concealed  him  from  the  wUes  of  Saturn.  She  intrusted  the  care 
of  him  to  her  servants,  the  Curetes,  who,  in  order  to  prevent  his 
being  discovered,  made  an  uproar  by  beating  their  spears  against 
their  shields.  Accordingly,  the  priests  of  the  Cretan  Rhea  and 
the  Idaean  Zeus  executed  noisy  war-dances  at  the  festivals  of  those 
gods.  The  worship  of  Cybele,  which  was  practised  on  the  mount- 
ains of  Lydia,  Mysia,  and  Phrygia,  was  also  accompanied  with  the 
clangor  of  horns,  drums,  and  cymbals.  Dante's  account  is  drawn 
from  Ovid,  "Fasti,"  iv,  197-214. 

101.  old  man.  The  following  picture  of  the  old  man  of  Crete 
is  founded  on  the  image  in  Nebuchadnezzar's  dream,  Dan.  ii,  32, 
33,  which  symbolized  the  monarchies  of  the  ancient  world.  Dante's 
figure  symbolizes  the  history  of  the  human  race  as  it  passed  suc- 
cessively through  the  golden,  silver,  and  iron  ages. 

102,  Damietta.  Or  Damiata.  In  Egypt,  at  the  mouth  of  the 
easternmost  branch  of  the  Nile  delta.  Here  it  is  used  generally 
for  the  East,  where  were  the  great  ancient  monarchies.  The  figure 
faces  Rome,  the  later  seat  of  imperial  authority,  turning  its  back 
upon  the  old  and  vanished  monarchies.  The  course  of  empire  is 
from  east  to  west. 

104.  his  mirror.  The  ideal  of  monarchy,  according  to  Dante, 
would  be  realized  only  in  Rome.     See  De  Mon.  i,  15,  16. 

of  fine  gold.  The  first  or  golden  age.  See  Ovid,  Metam.  i, 
89-112. 

106.  Silver.  The  gradual  deterioration  of  the  metals  denotes 
the  moral  deterioration  of  mankind  in  the  successive  ages.  For 
the  silver  age,  see  Ovid,  Met.  i,  114-124.  It  was  the  beginning  of 
the  decline  and  fall  of  the  Empire. 

107.  brass.  "A  race  more  fierce  in  disposition  and  more  ready 
for  dreadful  arms,  not  infamous  nevertheless."  Ovid,  Metam.  i, 
125  ff.     The  brass  marks  a  further  decadence,  ending  in  the  division 


236  THE   DIVINE  COMEDY 

of  the  Eastern  and  Western  Empires  at  the  death  of  Theodosius. 
The  division  is  figured  by  the  fork,  1.  106. 

108.  chosen  iron.  Iron,  without  admixture  of  any  other  metal, 
symboUzing  the  wars  which  form  nearly  the  whole  of  the  history 
of  Dante's  own  age.     See  Ovid,  Metam.  i,  127  ff. 

109.  baked  clay.  The  clay  foot,  on  which  the  figure  chiefly 
rests,  denotes  the  vile  and  fragile  basis  on  which  both  the  ecclesias- 
tical and  political  institutions  of  the  time  were  founded.  It  may, 
perhaps,  also  indicate  that  the  end  of  all  things  is  at  hand,  especially 
as,  to  Dante,  the  last  hope  of  the  strong,  triumphant  Roman  Empire 
seemed  to  be  extinguished  with  the  Hohenstaufen. 

112.  dripping  with  tears.  The  tears  figure  the  sorrows  of  man- 
kind caused  by  their  sins,  which  have  marked  the  successive  ages 
of  decline.  None  flow  from  the  head,  for  the  golden  age  was  one  of 
innocence  and  happiness. 

113.  a  passage  make.  The  tears  make  a  passage  through  that 
cavern  where  the  image  is. 

114.  this  valley.     HeU. 

114,  115.  Acheron,  Styx,  Phlegethon.  There  is  but  one  river 
bearing  different  names  at  different  parts  of  its  course. 

118.  Cocytus.     The  frozen  lake  at  the  bottom  of  the  abyss. 

120.  If  thus  the  present  rill,  etc.  Dante's  question  is  :  "If  this 
stream  which  we  see  has  flowed  all  the  way  down  through  Hell 
from  the  upper  world,  how  happens  it  that  we  have  not  met  with 
it  before?"  Vergil's  answer  is,  in  effect,  that  although  they  have 
descended  through  six  circles  and  have  kept  moving  toward  the 
left,  they  have  not  gone  around  the  entire  circumference  of  Hell; 
the  implication  being  that  the  stream,  though  passing  through  the 
circles  above,  did  not  pass  through  any  section  of  the  circles  which 
they  had  visited.  In  the  seventh  circle,  Dante  had  already  seen 
and  crossed  this  stream.  See  Inf.  xii,  47,  129.  But  evidently  he 
does  not  recognize  it  as  the  same. 

131.  thou  sayest  nothing.  Vergil  had  not  included  Lethe  among 
the  names  in  U.  114-115. 

132.  this  rain.  The  rain  of  tears  flowuig  down  from  the  cave 
on  Ida. 

135.  the  boiling  of  the  crimson  stream.  Vergil  assumes  that 
Dante  knows  the  derivation  and  meaning  of  the  word  Phlegethon, 
"flaming,"  and  says  that  the  fierj^  red  of  the  river  might  have  sug- 
gested its  name.  '  Dante,  although  he  knew  no  Greek,  might  have 
learned  this  from  Aen.  \i,  550-551. 

136.  thou  Shalt  see  Lethe.  In  the  Earthly  Paradise  on  the  summit 
of  the  mount  of  Purgatory. 

141,  142.  they  are  not  on  fire.  Because  not  covered  with  the 
inflamed  sand.     See  11.  80-82. 


NOTES  237 


CANTO  XV 

1.  one  of  the  hard  margins.  A  narrow  space  along  the  bank 
of  Phlegethon,  petrified  by  the  stream.  The  bank  on  the  top  of 
which  their  path  Hes,  is  between  the  sandy  plain  and  the  stream. 
On  the  side  of  the  sand  the  track  is  less  than  a  man's  height  above 
the  sand,  so  that  Brunetto,  walking  on  the  sand,  can  reach  the 
bottom  of  Dante's  robe, 

2,  3.  the  smoke  a  shade  diffuses.  The  dense  smoke  arising 
from  the  boiling  brook  forms  a  cloud  of  vapor  which  extinguishes 
the  fiery  flakes  before  they  fall  into  the  water  or  upon  the  path. 

4.  Wissant.  Very  often  explained  as  Cadsand,  in  the  Nether- 
lands, about  fifteen  miles  northeast  of  Bruges.  But  Cadsand,  apart 
from  the  fact  that  it  is  not  in  Flanders,  is  called  in  Italian,  Gaggiante, 
not  Guizzante.  The  reference  is  to  the  port  of  Wissant,  between 
Calais  and  Cape  Grisnez,  in  what  was  formerly  a  part  of  Flanders. 

7,  8.  the  Paduans  along  the  Brenta.  The  Brenta  rises  in  the 
Tyrolese  Alps  above  Trent,  flows  southeast  and  south,  is  joined 
by  the  Bacchiglione  just  below  Padua,  and  empties  into  the  Vene- 
tian lagoons. 

9.  Chiarentana.  A  mountainous  province  of  lUyria,  between 
Styria  and  the  Tyrol.  In  early  times  it  embraced  the  Val  Sugana, 
where  are  the  headwaters  of  the  Brenta,  and  extended  as  far  as 
Padua.  Some,  however,  identify  it  with  Canzana  or  Carenzana, 
a  mountain-group  in  the  neighborhood  of  Trent.  Bassermann 
thinks  it  is  the  lake  of  Caldonazzo  in  the  same  neighborhood,  which 
he  says  is  in  a  special  sense  the  source  of  the  Brenta.  He  urges 
that,  since  all  the  points  named  are  in  the  region  of  Verona,  Dante 
must  have  become  personally  familiar  with  them  during  his  residence 
with  the  Scaligers  in  that  city.  Apart  from  the  identification  of  the 
name,  Dante's  meaning  here  is  plain.  The  Paduans,  before  the 
warm  season  which  melts  the  snows  at  the  sources  of  the  Brenta, 
take  measures  to  guard  themselves  against  the  spring  floods. 

11.  whate'er  it  was  Two  renderings  are  possible.  "What- 
ever the  height  of  the  infernal  dikes  may  have  been"  ;  or,  "Whoever 
it  was  that  made  the  dikes"  ;  that  is  to  say,  whether  God  made  them 
by  the  agency  of  angels  or  of  devils.  But  the  former  of  the  two 
renderings  falls  in  better  with  Dante's  evident  intent  not  to  define 
specifically  the  height  or  the  bulk  of  the  dikes 

18,  19.  peered  with  puckered  brows.  Knitting  the  brows  and 
narrowing  the  eyelids. 

20  an  old  tailor,  etc.  The  delicious  realism  is  eminently  character- 
istic of  Dante. 

28.  my  face.  Many  read  here  "hand"  for  "face."  But  see 
1.  44. 

30.  Brunetto  Latini.  (1210-1294.)  It  is  disputed  whether  the 
name  should  be  written  Brunetto  Latim  or  Brunetto  Latino  The 
majority  of  Dante  scholars  prefer  the  former,  explaining  that  the 
full  name  was  Brunetto  dei  Latini,  that  is,  Brunetto  of  the  Latini. 


238  THE  DIVINE  COMEDY 

Scartazzini  claims  that  the  correct  ancient  usage  was  Brunetto 
Latino,  and  is  convinced  that  Brunetto  always  signed  himself 
Latino  or  dei  Latini.  but  says  that  if  he  were  living  now,  he  would 
write  Brunetto  Latini.  As  a  fact,  Brunetto  himself  uses  both.  He 
was  a  notary,  which  explains  the  title,  Ser.  He  no  doubt  exerted 
an  important  influence  upon  Dante's  intellectual  development,  but 
cannot  have  been  his  master,  as  is  so  often  asserted,  since  he  was 
about  fifty-five  years  old  when  Dante  was  bom.  He  was  a  Guelf. 
After  the  battle  of  Montaperti,  he  took  refuge  in  France,  where 
he  compiled  the  work  to  which  he  alludes  in  1.  118,  "the  Tesoro" 
or  "Li\Te  dou  Tresor."  He  returned  to  Florence  after  the  battle 
of  Benevento  and  the  rout  of  the  Ghibellines,  and  occupied  several 
public  positions.  He  is  said  to  have  been  the  first  who  introduced 
mto  Florence  the  study  of  oratory  and  political  science.  Of  the 
sin  for  which  he  is  placed  in  Hell  there  is  no  historical  trace.  Mr. 
TojTibee  thinks  he  may  have  been  merely  the  representative  of  the 
class  of  litterateurs  who  were  especially  addicted  in  those  times  to 
the  vice  in  question,  which  he  emphatically  condemns  in  the 
"Tesoro."  This  work,  as  edited  in  1863,  "is,"  says  Longfellow, 
"a  stately  quarto  of  some  seven  hundred  pages,  which  it  would 
assuage  the  fiery  torment  of  Ser  Brunetto  to  look  upon."  It  is  a 
collection  of  treatises  on  a  variety  of  topics  —  the  Beginning  of 
Time,  the  Antiquity  of  Old  Histories,  the  Vices  and  Virtues,  the 
Rules  of  Rhetoric,  and  the  Principles  of  Government. 
46.  what  chance  or  destiny.     Comp.  Aen.  vi,  531. 

51.  ere  I  had  reached  full  age.  This  probably  means,  "before 
I  reached  my  thirty-fifth  year."  The  "valley  "  or  the  "gloomy 
wood"  (Inf.  i,  2,  15)  probably  refers  to  his  going  astray  morally  after 
Beatrice's  death,  which  was  in  1290,  when  Dante  was  twenty-five 
years  old. 

yestermom.  The  morning  of  Good  Friday — the  real,  and  not 
an  ideal  Good  Friday — on  April  5th.  He  enters  the  seventh  circle 
between  3  and  5  a.m.  on  Easter  Eve.     See  Inf.  xi,  120. 

52.  I  turned  my  back.  In  the  attempt  to  ascend  the  mountain 
of  Virtue.     Inf.  i,  13,  14,  28 

53.  returning  thither.     Inf.  i,  57-59. 

54.  homeward.  Probably  to  Heaven;  but  some,  back  to  earth. 
But  Vergil  did  not  lead  Dante  back  to  earth. 

57.  if  I — discerned  aright.  In  his  astrological  obser^-ations 
Brunetto  possibly  cast  Dante's  horoscope. 

in  the  fair  life.  As  compared  with  that  of  Hell.  See  note  on 
Inf.  \'i,  51. 

58.  so  untimely.  Too  early  to  be  of  serv'ice  to  Dante  in  his 
maturer  work. 

62.  Fiesole.  About  three  miles  northeast  of  Florence.  Accord- 
ing to  tradition,  Florence  was  originally  peopled,  partly  bj'  Romans 
and  partly  by  immigrants  from  Fiesole,  who  formed  the  Commons. 

63.  of  the  mountain  and  the  rock.  Florence  was  built  largely  of 
stone  from  the  quarries  of  Fiesole.  Brunetto  says  that  the  descend- 
ants of  the  Fiesolans  still  retain  the  quality  of  their  stone.  "The 
building  material,  consisting  of  heavy  stones  or  macigni,  was  fum- 


NOTES  239 

ished  by  the  neighboring  stone-quarries  of  the  hills  of  Fiesole  and 
Golfolina  on  the  Amo,  at  the  spot  where  the  river  forces  a  narrow 
passage  from  the  Florentine  to  the  broad  lower  valley.  Great 
blocks  of  freestone,  rough-hewn  and  gradually  blackened  by  ex- 
posure to  the  air,  formed  those  massive  walls  that  seemed  as  though 
built  for  eternity.  These  walls  have  stamped  their  character  on 
the  later  Florentine  architecture  ;  for  the  fifteenth  and  even  the 
sixteenth  century  remained  faithful  to  this  opus  rusticum,  which 
has  been  transmitted  down  to  our  own  days,  modified,  it  is  true, 
in  its  harsher  features,  but  essentially  imchanged."  A.  von  Reu- 
mont,  "Lorenzo  de'  Medici." 

65.  thy  well-doing.  His  opposing  the  entry  of  Charles  of  Valois 
into  Florence,  one  of  the  causes  for  which  he  was  banished  in  1302. 
Comp.  Par.  xvii,  46  f. 

67.  tart  sorbs.  The  sorb  or  service-tree.  Germ.,  Sperberbaum  or 
Elsebeere  ;  French,  coenier.  Serves  is  merely  a  form  of  sorbs,  so  that 
service-tree  is  a  tree  bearing  sorbs.  The  tree  bears  a  very  acid  fruit, 
like  a  small  pear,  and  the  wood  is  very  hard.  The  old  English  name 
was  checker-tree.  Vergil  (Geor.  iii,  380)  describes  the  Scythian 
nomads  as  drinking  a  kind  of  beer  made  of  grain  and  sour  sorbs. 

68.  blind.  Two  explanations  are  given  :  (1)  The  Florentines 
blindly  trusted  the  promises  of  Totila,  who  promised  that,  in  their 
interest,  he  would  destroy  Pistoia,  and  would  give  them  great 
privileges.  On  these  assurances  they  opened  their  gates  and  lodged 
him  in  the  capitol,  whereupon  he  caused  the  principal  men  of  the 
city  to  be  massacred,  and  despoiled  the  city.  But  see  note  on 
Inf.  xiii,  151.  (2)  The  Florentines  allowed  themselves  to  be  im- 
posed upon  by  the  Pisans,  who  were  about  to  undertake  an  ex- 
pedition against  the  Saracens  in  Majorca.  At  this  juncture  they 
were  menaced  by  the  Luccans,  who  proposed  to  seize  Pisa.  They 
applied  to  Florence  to  protect  their  city  during  their  absence,  which 
the  Florentines  did.  On  their  return  in  1114,  the  Pisans  sent  to  the 
Florentines  as  a  thank-offering  two  porphyry  columns  taken  at 
Majorca,  and  these  being  defaced  by  fire  they  covered  them  with 
scarlet  cloth,  a  trick  which  the  Florentines  did  not  suspect  or 
discover.  Villani  says:  "And  the  said  columns  are  those  which 
stand  in  front  of  San  Giovanni. "  They  are  still  to  be  seen  near 
the  eastern  gate  of  the  Baptistery.  There  is  little  to  choose 
between  the  explanations. 

72.  shall  be  hungry.  The  Whites  and  the  Blacks  will  both  be 
eager  to  secure  Dante's  adherence. 

73.  far  from  the  goat.  The  proverb  means  that  neither  party 
will  succeed  in  winning  Dante.     See  note  on  Inf.  vi,  62. 

74.  a  litter  make,  etc.      Let  them  tear  each  other    in   pieces. 

75.  the  plant.  The  original  Roman  stock,  if  any  still  survives. 
From  this  stock  Dante  claimed  descent.  It  is  called  "holy"  as 
being  originally  ordained  by  God  as  the  source  of  the  power  which 
should  dominate  the  world. 

82.  in  my  mind  is  fixed,  etc.  Not  only  for  Brunetto,  but  for 
others  punished  for  this  vice,  Dante  shows  marked  respect.  See 
Inf.  xvi,  18,  31,  57-59,     "Which  emotion  is  to  overpower  the  other? 


240  THE  DIVINE  COMEDY 

There  must  be  a  conflict  of  sentiments.  Which  shall  have  promin- 
ence in  the  artistic  result?  It  is  a  question  of  feeling  (in  some  sense, 
we  may  say,  of  poetic  feeling),  not  of  morality  ;  one  of  personal 
sentiment,  not  of  moral  judgment  on  Dante's  part.  His  own 
decision,  at  any  rate,  is: 

"  Sorrow  and  not  disdain 
Did  your  condition  fix  within  me  so, 
That  tardily  it  wholly  is  stripped  ofiF." 

Moore,  "  Dante  Studies,"  ii,  222. 

89.  I  note.     In  my  memor\'. 

to  gloss  with  other  text.  To  be  commented  on  and  explained  by 
Beatrice  when  he  shall  meet  her. 

94.  earnest.  The  word  means  a  payment  made  in  security  for 
the  fulfilment  of  a  contract.  Used  here  of  the  prediction  of  Bnmetto, 
which  is  the  earnest  of  Dante's  future  misfortunes. 

95.  not  novel.  He  had  heard  a  similar  prediction  from  Ciacco 
(Inf.  v\,  65  S.),  and  from  Farinata  (Inf.  x,  80-83). 

Fortune.  Let  Fortune  go  on  turning  her  wheel,  and  the  Fiesolan 
churls  plying  their  drudgery.  It  matters  not  to  me.  All  shall 
come  to  pass  according  to  God's  will. 

99.  who  marks  it.     Who  lays  to  heart  the  words  of  the  wise. 

107.  men  of  letters.  The  vice  of  sodomy  is  said  to  have  prevailed 
to  a  frightful  extent  among  this  class.  The  words  of  Benvenuto  da 
Imola  are  too  long  to  quote  here.  They  are  given  in  Mr.  Toynbee's 
*'Dant€  Dictionary,"  p.  3,  under  Accorso,  Francesco  d'. 

109.  Priscian.  A  Latin  grammarian  who  lived  in  Constantinople 
at  the  beginning  of  the  sixth  centur\%  A.D.  Here  he  compiled  his 
great  Latin  Grammar  in  eighteen  books,  which  was  epitomized,  and 
used  for  a  long  time  in  the  Middle  Ages  as  a  school-book,  and  which 
was  the  foundation  of  the  earlier  modem  treatises  on  Latin  grammar. 
There  is  no  historical  ground  for  accusing  him  of  this  vice. 

110.  Francesco  d*  Accorso.  The  son  of  the  Florentine  jurist, 
Accorso  da  Bagnolo,  a  lecturer  in  the  University  of  Bologna.  Fran- 
cesco was  Professor  of  Civil  Law  at  Bologna,  and  subsequently  went 
to  England,  where  he  lectured  at  Oxford  in  1273.  The  Bolognese 
were  so  anxious  to  retain  his  services  that  they  forbade  his  going 
under  pain  of  confiscation  of  his  property,  and  he  was  actually 
proscribed.  He  returned  to  Bologna  in  1281,  when  his  property 
was  restored.     He  died  in  1293. 

112.  was  transferred.  This  is  Andrea  de'  Mozzi ,  Bishop  of  Florence 
1287-1295.  In  1295,  because  of  his  depraved  life,  he  was  trans- 
ferred by  Boniface  VIII  ("the  serv^ant  of  ser\'ants")  to  the  see  of 
Vicenza.  Benvenuto  says:  "often,  while  preaching  to  the  people, 
he  was  wont  to  say  many  ridiculous  things. " 

113,  114.  from  Amo  to  Bacchiglione.  The  Bacchiglione  rises 
in  the  Alps,  above  Vicenza,  through  which  it  flows.  It  is  referred 
to  again,  Par.  ix,  47.  Another  illustration  of  Dante's  denoting 
towns  or  countries  by  their  rivers.     See  note  on  Inf.  xii,  123. 

118.  dust.     Announcing  the  approach  of  another  troop. 

119.  I  must  not  be.    The  transgressors  moved  in  groups,  ap- 


NOTES  241 

parently  according  to  their  rank  or  occupation,  and  these  must 
not  associate. 

124.  for  the  green  cloth.  Brunetto  ran  as  fast  as  the  one  who 
wins  the  foot-race  which  took  place  annually  outside  of  Verona, 
on  the  first  Sunday  in  Lent.     The  prize  was  a  piece  of  green  cloth. 


CANTO  XVI 

2.  the  water.    Phlegethon. 
4.  by  beehives. 

"  I  herds  a  noise  aprochen  blyve, 
That  f erde  as  been  don  in  an  hyve, 
Agen  her  tyme  of  out-fleyinge  ; 
Right  swiche  a  maner  murmtiringe, 
For  al  the  world,  hit  semed  me." 

Chaucer,  "  Hous  of  Fame,"  1521  ff. 

8.  thy  garb.  Most  Italian  cities  were  marked  by  a  particular 
costume  of  their  citizens.  That  of  Florence  was  distinguished  by 
the  lucco,  a  closely  fitting  robe  falling  from  the  neck  without  folds, 
and  the  capuccio,  the  hood  or  beretta.  Villani  says  that  the  dress 
of  the  Florentines  was  anciently  fair,  noble,  and  more  dignified  than 
that  of  any  other  nation,  and  that  the  citizens  looked  like  Romans 
in  togas. 

18.  thee  the  haste  befitted.  It  would  be  more  becoming  for  you 
to  hasten  to  meet  them  than  for  them  to  hasten  to  you. 

19.  strain.     See  1.  7-9. 

21.  made  of  themselves  a  wheel.  They  moved  round  and  round 
in  order  to  get  a  near  view  of  Dante  who  was  on  the  causeway 
above  ;  and  also  that  they  might  not  incur  the  penalty  for  stopping. 
See  Inf.  xv,  37-39.     Comp.  Aen.  vi,  329. 

22.  As — champions.  Like  boxers  or  wrestlers  moving  round 
each  other,  and  looking  for  a  chance  for  a  grip  or  a  blow.  The 
use  of  the  imperfect,  "were  wont,"  would  seem  to  point  to  the 
contests  of  the  Greek  and  Roman  palaestra,  which,  in  Dante's  age, 
were  things  of  the  past.  The  alternative  reading,  "are  wont," 
is  supposed  to  refer  to  the  hired  combatants  in  the  "judicial  duels," 
as  they  were  called,  by  which  suits  were  determined  in  Italy  in 
the  thirteenth  and  fourteenth  centuries. 

27.  in  contrary  direction.  They  were  continually  looking  back- 
ward in  order  to  see  Dante  ;  their  necks  being  turned  in  a  direction 
contrary  to  that  in  which  their  feet  were  moving. 

29.  imstable.     Because  of  the  yielding  sand. 

33.  trail  thy  living  feet.  The  idea  is  that  the  living  body  lacks 
the  lightness  of  movement  which  marks  the  spirit.  See  Inf.  viii, 
28  ;  xii,  30-31. 

37.  Gualdrada.  A  daughter  of  Bellincion  Berti,  who  is  men- 
tioned. Par.  XV,  112-113,  as  a  representative  of  "the  good  old  time" 
of  Florence,  when  the  citizens  walked  the  streets  girded  with  a 


242  THE  DIVINE  COMEDY 

leathern  belt  with  its  clasp  of  bone.  There  is  a  story  of  her  that 
she  appeared  with  her  mother  in  the  church  on  the  festival  of  St. 
John,  at  which  the  Emperor  Otho  IV  was  present.  The  Emperor, 
being  struck  with  her  beauty,  asked  her  father  who  she  was ;  to 
which  he  replied  :  "She  is  the  daughter  of  one  who,  I  dare  say, 
would  let  you  kiss  her  if  j'^ou  wished."  Gualdrada,  overhearing 
this,  said  to  her  father:  "Do  not  make  such  courteous  promises 
at  the  expense  of  my  modesty,  for  certainly,  unless  by  \'iolence, 
no  one  shall  ever  kiss  me  except  he  whom  you  shall  give  me  as  my 
husband."  The  Emperor,  being  greatly  pleased  at  these  words, 
called  forward  a  noble  youth  named  Guido  Beisangue,  afterward 
known  as  Guido  the  Elder,  insisted  on  his  marrying  her,  and  be- 
stowed on  her  a  large  dowry. 

38  Guido  Guerra.  Gualdrada's  grandson,  a  Guelf  leader  of 
Florence.  He  endeavored  to  dissuade  the  Florentine  Guelfs  from 
the  expedition  against  Siena  which  resulted  in  the  ruin  of  the 
Guelf  party  in  Florence.  After  the  flight  of  the  Guelfs  to  Romagna, 
he  acted  as  their  leader.  At  the  battle  of  Benevento  he  contributed 
materially  to  the  defeat  of  Manfred.  Charles  of  Anjou  in  1266 
appointed  him  his  Vicar  in  Tuscany.  He  died  in  1272.  He  is 
described  as  ambitious,  warlike,  accomplished  in  arms,  and  of  a  lofty, 
generous,  and  cheerful  spirit. 

40.  Tegghiaio  Aldobrandi.  A  Florentine  Guelf.  Dante  had  al- 
ready inquired  about  his  fate  of  Ciacco  (Inf.  vi,  81).  He  opposed 
the  declaration  of  war  against  the  Sienese,  which  resulted  in  the 
battle  of  Montaperti. 

43.  Jacopo  Rusticucci.  See  Inf.  vi,  82.  He  was  said  to  be  of 
low  birth,  politic,  wealthy,  and  liberal.  The  fact  that  he  is  the  only- 
one  whose  surname  is  mentioned  among  those  named  in  Inf.  vi, 
81-82,  would  seem  to  indicate  that  he  was  not  specially  distinguished. 
Benvenuto  says  that  his  vile  life  was  owing  to  the  ferocious  tem- 
per of  his  wife,  with  whom  it  was  impossible  for  him  to  live. 

52.  sorrow.     See  note  on  Inf.  xv,  82. 

59.  I  leave  the  gall.     Replying  to  the  request  in  11.  31-32. 

68.  GiigUelmo  Borsiere.  A  Florentine,  said  to  have  been  a 
purse-maker,  as  his  name  imports. 

71.  provokes  us.  By  his  grievous  reports  of  the  condition  of 
Florence. 

the  new  folk.  Either  an  uncultivated  class  who  had  come  into 
the  city  from  the  country  (see  Par.  xvi,  49-50),  or  a  commercial 
class  who  had  become  rapidly  rich.  Others  think  the  reference 
is  to  the  two  factions  of  the  Cancellieri,  transplanted  in  1300  from 
Pistoia  to  Florence.     See  note  on  Inf.  vi,  62,  67. 

72.  sudden  gains.     By  trade  and  usury. 

75.  with  face  uplifted.     Toward  Florence,  which  he  apostrophizes. 

77.  when  the  truth  is  heard.  As  men  look  when  something  that 
is  told  them  carries  conviction  to  their  minds. 

79.  at  other  times.  Dante  has  replied  in  three  lines  to  the  question 
asked  by  the  three,  and  has  indicated,  besides,  the  cause  and  the 
consequences  of  the  condition  of  Florence.  The  three  commend 
his  response  for  its  fulness,  brevity,  ajid  clearness;  and  say:  "If 


NOTES  243 

on  other  occasions  you  can  with  so  little  effort  satisfy  others,  you 
will  be  happy  if,  by  your  free  speaking,  you  can  do  so  without  more 
risk  to  yourself  than  you  incur  at  our  hands." 

84.  I  was.  When,  having  all  the  dangers  of  this  journey  through 
Hell  behind  you,  you  can  speak  of  them  as  past.  Comp.  Aen.  i, 
204. 

85.  talk  about  us  to  the  people.     See  note  on  Inf.  vi,  92. 

85,  86.  they  broke  their  wheel.  See  1.  21.  They  ceased  moving 
round. 

93.  that  stream.  The  river,  as  the  following  lines  tell,  was  called 
Acquacheta  in  the  first  part  of  its  course,  as  far  as  Forli.  At  Forli 
it  became  "vacant  of  that  name."  (For  the  phrase,  see  Purg.  v, 
103-104.)  It  then  became  the  Montone,  which  Dante  does  not  men- 
tion by  name,  which  flows  through  Forli  and  into  the  sea  near 
Ravenna,  He  further  says  that  this  river  is  the  first  which,  from 
Monte  Viso  eastward  on  the  left  flank  of  the  Apennines,  has  an 
independent  course  :  i.e.,  it  is  the  first  which,  rising  on  the  northern 
side  of  the  Apennines,  does  not  flow  into  the  Po.  In  Dante's  time 
that  would  have  been  true.  The  river  which,  owing  to  changes  in 
the  course  of  the  Po,  now  answers  to  this  description,  is  the 
Lamone,  which  is  the  first  to  make  its  own  way  to  the  Adriatic ; 
but  at  that  time  the  Lamone  ended  in  the  swamps  at  the  mouth  of 
the  Po. 

99.  San  Benedetto  of  the  Mount.  San  Benedetto  is  a  mountain 
in  the  Etruscan  Apennines,  on  the  slope  of  which,  above  Forli, 
is  a  Benedictine  monastery  called  San  Benedetto  dell'  Alpe.  The 
name  Montone  is  borne  by  the  river  as  high  up  as  this  point,  near 
which  it  is  joined  by  a  torrent  called  Acquacheta.  This  region 
was  familiar  to  Dante.     See  Conv.,  iv,  11,  5. 

101.  shelter  for  a  thousand  should  have  been.  This  is  sometimes 
explained  that  the  river  plunged  at  a  single  leap  over  a  precipice 
high  enough  for  a  thousand  cascades.  The  correct  explanation, 
however,  is  probably  that  given  by  Boccaccio,  who  says  that  he 
was  told  by  the  Abbot  of  San  Benedetto  that  the  Count  Guidi  to 
whom  the  neighboring  lands  belonged,  proposed  to  build  near  the 
cascade  a  village  for  the  accommodation  of  his  vassals  of  that 
district,  but  died  before  he  could  carry  out  his  design.  Thus  it 
was  intended  that  room  should  be  provided  for  a  thousand.  Basser- 
mann  says:  "When  the  cascade  is  viewed  from  above,  especially 
from  the  edge  of  the  precipice,  one  is  impressed  by  the  resemblance 
to  the  infernal  landscape  pictured  by  Dante.  Dante  evidently  had 
in  his  mind's  eye  the  view  of  the  fall  from  above."  His  whole 
description  will  repay  reading.  Longfellow  remarks  that  this 
comparison  shows  the  delight  which  Dante  took  in  the  study  of 
physical  geography.  To  reach  the  waterfall  of  Acquacheta,  he 
traverses  in  thought  the  entire  valley  of  the  Po,  stretching  across 
the  whole  of  northern  Italy. 

106.  a  cord.  It  has  been  said  that  this  is  perhaps  the  most 
perplexing  piece  of  symbolism  in  the  whole  poem.  No  entirely 
satisfactory  explanation  appears  to  be  possible.  Dante  says  that 
with  the  cord  he  had  once  attempted  to  take  the  panther  with  the 


244  THE  DIVINE  COMEDY 


spotted  skin  (Inf.  i,  31-33).  The  panther  is  the  symbol  of  lust, 
and  the  cord  is  therefore  supposed  to  signify  the  restraints  of  monastic 
life.  To  one  fourteenth-century  commentator,  and  to  him  alone,  the 
story  is  due  that  Dante  became  a  lay  member  of  the  Franciscan 
order,  whose  emblem  was  the  cord,  from  which  they  were  called 
Cordeliers.  What,  then,  is  the  meaning  of  Vergil's  throwing  down 
the  cord  to  summon  Geryon?  It  is  answered  that  the  cord  signifies 
righteousness  ;  and  Isa,  xi,  5,  and  Eph.  vi,  14  are  cited.  Hence  the 
cord  is  used  to  summon  Geryon,  because  it  is  by  the  truth  that 
fraud  is  forced  to  come  to  the  light  and  show  itself.  Scartazzini, 
who  believes  that  Dante  did  join  the  Franciscans,  explains  as 
follows  :  Dante,  by  becoming  a  Franciscan  and  assuming  the  cord, 
endeavored  to  capture  the  panther,  or,  in  other  words,  to  subdue 
carnal  temptation.  But  this  did  not  suffice.  He  must  also  witness 
the  eternal  punishment  of  lust,  as  he  has  already  done.  Through 
seeing  this,  he  has  inwardly  prevailed.  Vergil,  therefore,  causes 
him  to  take  ofif  the  cord,  never  to  resume  it,  for  he  throws  it  into 
the  abyss.  Vergil  used  the  cord  to  sunomon  Geryon  because  he 
wished  "to  pay  the  image  of  fraud  in  his  own  coin."  How  often 
the  monastic  habit  proved  itself  to  be  only  "afoul  image  of  fraud  ! " 
The  cord  signifies  not  a  virtue,  but  a  vice  which  Dante  forever 
abjures.  Dean  Plumptre  in  his  elaborate  biography  of  Dante  also 
makes  an  ingenious  plea  for  the  Franciscan  story.  On  the  whole, 
the  case  seems  hopeless.  The  Franciscan  story  is,  at  best,  doubtful. 
Is  it  absolutely  necessary  to  assume  any  allegory  at  all? 

116.  how  much  caution.  Dante  had  said  to  himself  that  some- 
thing strange  would  answer  the  signal,  but  did  not  conceive  of 
such  a  horror  as  Geryon.  Vergil  reads  his  thought,  and  discerns 
how  far  short  of  the  truth  it  comes.  Hence  Dante  says  that  one 
should  be  cautious  in  dealing  with  those  who  discern  the  workings 
of  the  mind. 

122,  123.  to  that  truth  which  wears  the  guise  of  falsehood,  etc. 
A  man  should  refrain,  as  far  as  possible,  from  uttering  a  thing  which, 
though  true,  has  the  appearance  of  falsehood.  Dante  is  at  a  loss 
how  to  describe  such  an  extraordinary  phenomenon  as  Geryon 
without  laying  himself  open  to  the  suspicion  of  lying. 

128.  so  may  they  not  be  destitute,  etc.  So  may  the  verses  not 
have  a  short-lived  reputation. 

134,  135.  Stretches  forth  himself  above,  etc.  Stretches  forward 
and  upward  the  upper  part  of  his  body,  and  draws  in  his  feet,  as  a 
diver  does  when  coming  to  the  surface. 


CANTO  XVII 

1.  the  monster.  Dante's  Geryon  does  not  correspond  to  the 
monster  of  classical  fable.  The  latter  was  a  winged  giant  with 
three  bodies,  and  kept  his  herd  of  red  cattle  in  the  island  of  Erythia 
in  the  extreme  west  of  the  ocean.  It  was  one  of  Hercules'  twelve 
labors  to  slay  Geryon  and  to  carry  off  his  cattle.     Dante's  Geryon 


NOTES  245 


is  purely  his  own  invention,  save  that  the  scorpion- tail  is  taken  from 
Rev,  ix,  10.  His  selection  as  an  image  of  fraud  may  be  due  to  a 
tradition  that  he  lured  strangers  to  his  dwelling  and  then  slew  them. 

6.  the  marble  causeway  we  had  trod.  The  petrified  causeway 
along  the  bank  of  the  Phlegethon. 

10.  his  face.  The  face  signified  hypocrisy ;  the  serpent-body 
deceit  and  malice ;  the  claws,  rapacity ;  the  knots  and  shields  on 
the  body,  snares  and  subterfuges. 

15.  Knots — little  shields.  Knots  signify  the  entanglements  of 
fraud.  Shields,  lit.,  "little  wheels  or  rings,"  such  as  would  be 
wrought  into  chain-armor,  signifying  the  coverings  and  conceal- 
ments which  the  fraudulent  apply  to  their  deceits,  as  the  soldier 
covers  himself  with  his  shield. 

16.  Turks,  Tartars.  The  Tartar  cloths  were  highly  esteemed  in 
the  Middle  Ages.  In  old  French,  rich  Oriental  stuffs  were  called 
"Tartarini'  or  "Tartaire."  By  the  Turks  are  meant  Asiatic  Turks. 
Their  fabrics,  like  those  of  the  Tartars,  were  highly  prized. 

17.  with  colors  more.  Benvenuto  says  that  Dante,  desiring  to 
express  the  infinite  variety  and  shades  of  fraud,  shows  that  he 
cannot  find  any  comparison  suitable  to  the  subject,  since  there  is 
no  cloth  woven  that  exactly  resembles  the  variegated  colors  on 
the  skin  of  this  monster;  so  he  goes  on  to  show  that  the  most  intricate 
and  elaborate  embroidery  known  to  man  would  fall  short  of  what 
he  wishes  to  describe.  There  is  a  difference  of  opinion  as  to  the 
construction ;  some  taking  colori,  sommesse,  soprapjwste  as  three 
nouns  in  apposition;  thus:  "more  colors,  (more)  ground  work, 
(more)  overlaying."  Others  take  sommesse  and  soprapposte  as  ad- 
jectives agreeing  with  colori;  thus:  "more  colors  underlaid  and 
overshot. " 

18.  Arachne.  A  Lydian  maiden,  daughter  of  a  famous  dyer 
in  purple,  an  expert  in  the  art  of  weaving,  in  which  she  challenged 
Athene  to  compete  with  her.  She  produced  a  piece  of  cloth  on 
which  the  amours  of  the  gods  were  depicted,  and  as  Athen^  could 
find  no  fault  with  it,  she  tore  it  in  pieces,  and  Arachne  hanged 
herself.  Her  story  is  told  by  Ovid,  Metam.  vi,  5  ff.  She  is  sculptured 
on  the  pavement  of  the  first  terrace  of  Purgatory.     Purg.  xii,  43. 

20.  wherries.     Flat-bottomed  boats  for  navigating  rivers. 

22.  the  beaver.  From  the  beaver's  habit  of  sitting  on  the  bank 
with  his  tail  in  the  water  arose  the  story  that  he  dropped  oil  upon 
his  tail  and  so  attracted  fish.  The  beaver  does  not  feed  on  fish  but 
on  vegetable  food. 

26.  fork.  The  forked  tail  is  an  emblem  of  the  two  species  of 
fraud  described  in  Inf.  xi,  55-58. 

35.  near  the  precipice.  Lit.,  "  the  place  which  is  lacking. "  Where 
the  ground  ceases. 

43.  the  melancholy  people  sat.  See  note  on  Inf.  xi,  102-103. 
They  were  sitting.  Comp.  John  ii,  14.  Representing  acquisition 
without  labor.     "They  make  the  money  work."     Scartazzini. 

52,  53.  none  of  them  I  knew.  As  in  the  case  of  the  avaricious 
and  prodigal.  See  Inf.  vii,  52,  and  note.  All  individuality  was  de- 
stroyed, so  that  they  were  unrecognizable. 


246  THE  DIVINE  COMEDY 


54.  a  pouch.  Ruskin  says  that  attaching  the  purse  to  the  neck 
as  a  badge  of  shame  is  found  before  Dante's  time,  as  in  the  windows 
of  Bourges  cathedral.  They  hfvd  kept  their  eyes  fastened  on  their 
purses  in  life ;  their  eyes  feed  on  them  eternally,  only  they  are 
empty. 

55.  blazon.  Coat-of-arms,  indicating  that  they  were  persons  of 
good  famUy. 

58.  a  lion.  The  Florentine  family  of  the  Gianfigliazzi,  Guelfs, 
exiled  from  Florence  in  1248.     They  sided  with  the  Blacks. 

61.  a  goose.     The  Ubbriacchi  of  Florence.     Ghibellines. 

63.  sow.  The  Scrovigni  of  Padua.  The  one  who  addresses  Dante 
is  Rinaldo,  a  noted  usurer. 

67.  my  fellow-citizen  Vitalian.  Vitaliano  is  still  living.  He  is 
the  only  one  of  the  usurers  whom  Dante  mentions  by  name. 

69.  thundering.  The  Florentine  usurers  who  are  sitting  with 
the  speaker  thunder  in  his  ears. 

70.  the  knight  supreme.  A  Florentine,  Giovanni  Buiamonte, 
whose  bearings  were  three  kites'  or  eagles'  beaks.  Not  "goats." 
"knight  supreme"  signifies  the  prince  of  usurers. 

71.  72.  his  mouth  twisted.     Comp.  Isa.  Ivii,  4. 

79.  by  stair  like  this.  From  this  point  there  are  no  more  natural 
descents  into  the  depths  below. 

88.  admonitions.     Or  "reproofs."     Not  "threats." 

105.  Phaethon.  The  name  means  "shining."  He  was  a  son 
of  ApoUo  by  the  Ocean-nymph  Clymen6.  Having  been  told  that 
ApoUo  was  not  his  father,  he  requested  that  god  to  let  him  prove 
his  parentage  by  driving  the  chariot  of  the  sun  for  one  day.  He  was 
too  weak  to  hold  the  horses,  and  they  veered  from  their  track  and 
approached  so  near  to  the  earth  as  nearly  to  set  it  on  fire.  In  answer 
to  the  prayer  of  Earth,  Zeus  killed  him  with  a  thunderbolt,  and  flung 
him  into  the  Po.  The  story  is  from  Ovid,  Metam.  ii,  47-324.  Dante 
often  alludes  to  it.     See  Cliaucer,  "Hous  of  Fame,"  941  fif. 

106.  as  still  appears.  It  was  said  that  the  Milky  Way  was  caused 
by  the  scorching  of  the  heavens  by  Phaethon's  accident. 

107.  Icarus.  The  son  of  the  artificer  Daedalus  of  Crete.  Daedalus 
constructed  wings  for  him,  with  w^hich  he  attempted  to  fly  ;  but 
ha%'ing  approached  too  near  the  sun,  the  heat  melted  the  wax  with 
which  the  wings  were  fastened,  and  he  fell  into  the  sea  and  was 
drowned.     Dante  took  the  story  from  Ovid,  Metam.  viii,  183-235. 

115.  I  perceive  it  not.  He  did  not  perceive  the  descent  except 
by  the  wind  which  blew  from  beneath  upon  his  face. 

127.  falcon.  The  falcon  is  one  of  Dante's  favorite  figures.  See 
Inf.  xxii,  135  ;  Purg.  xLx,  67  ;  Par.  xLx,  34. 

128.  lure.  The  figure  of  a  bird  tied  to  a  stick,  and  used  to  recall 
the  falcon. 

135.  sheer.  Cut  sheer  down,  "As  if  hewn  out  with  an  adze." 
Ruskm.     See  "Modern  Pamters,"  Vol.  IV,  Ch.  16. 


NOTES  247 


CANTO  XVIII 

The  poets  are  now  in  the  eighth  circle.  This  circle,  called  Malebolge 
or  Evil-Pits,  is  devoted  to  those  who  have  defrauded  persons  not 
bound  to  them  by  any  special  tie  of  relationship,  friendship,  or 
gratitude.  See  Introductory  Note  to  Canto  XI.  For  the  de- 
scription of  Malebolge,  see  Introduction,  under  "Dante's  Hell." 

1 .  Malebolge.  Bolgia  means  a  pocket  or  wallet.  Hence  a  hollow 
place,  a  trench. 

2.  iron  hue.  Ruskin  ("Modem  Painters,"  III,  Ch.  15)  says: 
"Dante's  idea  of  rock-color  ...  is  that  of  a  dull  or  ashen  grey, 
more  or  less  stained  by  the  brown  of  iron-ochre,  precisely  as  the 
Apennme  limestones  nearly  always  are ;  the  grey  being  peculiarly 
cold  and  disagreeable.  .  .  .  The  whole  of  Malebolge  is  made  of 
this  rock. " 

3.  the  circling  wall.  The  encompassing  wall  of  the  circular 
space  within  which  all  the  trenches  lie. 

5.  a  pit.     Or  "well,"  leading  down  to  the  ninth  circle. 

7.  the  belt,  etc.  The  belt  which  remains  of  the  eight  circles, 
and  which  lies  between  the  mouth  of  the  well  and  the  foot  of  the 
rock  (xvii,  135)  that  forms  the  wall  of  the  shaft  at  the  bottom  of 
which  Geryon  had  set  them  down. 

10.  figure  such,  etc.  The  passage  is  somewhat  involved.  The 
sense  is :  Malebolge  presents  such  a  general  appearance  as  do 
castles  girt  with  successive  trenches  for  the  security  of  the  walls; 
and  as  in  such  castles  bridges  lead  from  their  gate  to  the  outer  bank 
of  the  trenches,  so  bridges  of  rock,  starting  from  the  foot  of  the 
wall  of  the  shaft,  span  the  successive  trenches  of  Malebolge.  These 
trenches,  of  course,  run  round  the  whole  circuit  of  Hell. 

17.  the  cUkes  and  trenches  cut  across.  That  is,  traverse  the  suc- 
cessive trenches  and  the  embankments  between  them,  down  to  the 
well  at  the  bottom,  at  which  they  concentrate  as  the  spokes  of  a 
wheel  at  the  hub, 

25,  26.  on  our  side  the  middle.  The  middle  of  the  track  at  the 
bottom  of  the  trench.  Remembering  that  each  trench  goes  round 
the  entire  circuit  of  Hell,  we  may  draw  an  imaginary  line  in  the  mid- 
dle of  the  floor  of  the  trench,  running  parallel  to  its  circumference. 
Along  this  floor  two  companies  of  sinners  are  moving  in  opposite 
directions,  one  company  on  each  side  of  the  imaginary  line.  The 
two  poets  are  moving  from  right  to  left.  The  company  on  the  side 
nearest  to  them  moves  from  left  to  right,  and  therefore  comes  facing 
them.  The  company  on  the  other  side  of  the  line  moves  from  right 
to  left,  in  the  same  direction  with  the  poets,  but  faster,  so  that  some 
of  them  are  continually  abreast  of  VergU  and  Dante.  This  Dante 
now  proceeds  to  illustrate. 

29.  just  as  the  Romans,  etc.  Toward  the  close  of  1299,  Pope  Boni- 
face VIII  issued  a  proclamation  granting  full  absolution  to  all  Romans 
who,  during  the  year  1300  should  visit  once  a  day  for  thirty  days  the 
churches  oi  the  Apostles  at  Rome,  and  to  all  strangers  who  should 


248  THE  DWINE  COMEDY 

do  the  same  for  fifteen  days.  Thus  was  inaugurated  the  first  Jubi- 
lee of  the  Roman  Church,  on  Christmas,  1299.  The  roads  from 
Britain,  Germany,  and  Hungary  were  thronged  with  pilgrims.  At 
times  there  were  two  hundred  thousand  strangers  in  Rome.  The 
Chronicler  Ventura  declares  that  the  total  number  of  pilgrims  was 
not  less  than  two  millions.  This  is  what  Dante  means  by  '  *  the  vast 
concourse,"  1.  30. 

31.  across  the  bridge.  It  is  said  that,  in  order  to  prevent  confu- 
sion and  disaster  among  the  crowds  going  across  the  bridge  of  St. 
Angelo  to  St.  Peter's,  and  returning,  a  barrier  was  erected  along  the 
middle  of  the  bridge,  by  which  those  going  and  those  returning  were 
kept  separate. 

33.  the  Castle.  The  castle  of  St.  Angelo,  formerly  the  Mausoleum 
of  Hadrian,  begun  by  Hadrian  about  A.D.  130,  and  completed  by 
Antoninus  Pius  ten  years  later.  After  Hadrian's  time  it  was  the 
tomb  of  many  Roman  Emperors,  down  to  the  time  of  Septimius 
Severus,  A.D.  211.  Its  first  conversion  into  a  fortress  dates,  prob- 
ably, from  about  A.D.  423.  At  the  close  of  the  sixth  century,  accord- 
ing to  the  Church  tradition,  while  Pope  Gregory  the  Great  was  en- 
gaged in  a  procession  to  St.  Peter's  for  the  purpose  of  performing  a 
solemn  ser\'ice  to  avert  the  pestilence  which  followed  the  inundation 
of  589,  the  Archangel  Michael  appeared  to  him  standing  on  the  sum- 
mit of  the  fortress,  in  the  act  of  sheathing  his  sword,  to  signify  that 
the  plague  was  stayed.  The  name  St.  Angelo  was  derived  from 
this  tradition. 

34.  St.  Peter's.  This  was  the  old  church,  founded  A.D.  306  by  Con- 
stantine.    The  present  edifice  was  begun  in  1503  and  finished  in  1590. 

Whether  or  not  Dante  was  personally  present  at  Rome  during  the 
Jubilee,  is  a  much-disputed  question.  It  was  long  held  as  a  histor- 
ical fact  that  in  the  autumn  of  1301  Dante  was  sent  to  Rome  with 
an  embassy  to  Boniface  VIII,  to  avert  the  coming  of  Charles  of 
Valois  to  Florence;  and  that  he  was  absent  from  Florence  when  the 
decree  of  his  banishment  was  issued.  This  has  been  disproved. 
That  Dante  may  have  been  in  Rome  in  1299  or  1300  is  possible;  but 
all  that  the  evidence  adduced  amounts  to  is  that  there  are  in  the 
"  Conmiedia  "  allusions  to  well-known  features  of  the  city,  and  to  this 
incident  of  the  JubUee. 

35.  the  Mount.  It  is  impossible  to  say  positively  what  Dante  re- 
fers to.  Some  gopd  authorities  hold*  to  Monte  Giordano,  directly 
across  the  river  from  St.  Angelo,  and  not  far  from  the  bridge.  In 
the  twelfth  century  it  was  an  artificial  mound  formed  of  fragments 
of  old  buildings.  In  Dante's  time  it  was  one  of  the  seats  of  the  Or- 
sini  family.  Gregorovius  says  that  in  1334  it  formed  a  quarter  en- 
tirely surrounded  with  walls.  Others  hold  that  Monte  Gianicolo 
is  meant.  This  is  on  the  same  side  of  the  river  as  St.  Angelo;  but 
owing  to  a  bend  in  the  stream  it  faces  one  coming  from  the  castle. 
On  a  spur  of  Monte  Gianicolo  is  the  Church  of  San  Pietro  in  Montorio, 
said  to  have  been  foimded  by  Constantine  near  the  spot  where  Peter 
suffered  martyrdom.  Still  others  maintain  that  Dante  meant  the 
Capitoline  HiU.  ProbabiUties,  on  the  whole,  seem  to  favor  Monte 
Giordano. 


NOTES  249 

36.  homed  demons.     The  hems  are  a  symbol  of  adultery. 

39.  lift  their  shanks.  Or  "kick  up  their  heels."  The  word  berze, 
"shanks,"  occurs  only  here.  There  is  a  grim  contemptuousness  in 
its  use. 

52.  Venedico  Caccianimico.  Of  Bologna.  Prominent  in  party- 
politics,  a  violent  Guelf,  and  expelled  from  Bologna  in  1289. 

53.  such  stinging  Salse.  Salse  was  the  name  of  a  ravine  outside 
of  Bologna,  where  the  bodies  of  criminals  were  thrown,  and  minor 
criminals  were  whipped  by  the  public  executioner.  Benvenuto 
says  that  the  boys  of  Bologna  might  be  heard  saying  to  one  another: 
"  Your  father  was  thrown  into  the  Salse."  There  is  a  play  upon  the 
word,  which  also  means  "pickle."  Addressing  a  Bolognese,  Dante 
says  sarcastically,  "What  brought  you  into  such  a  stinging  pickle?" 
implying  at  the  same  time  that  he  is  in  the  appropriate  place  for  a 
whipped  malefactor. 

57.  Ghisolabella.  The  two  words  form  one  name.  Not,  as  often 
rendered,  "the  fair  Ghisola."  The  vile  story  repels  comment.  She 
was  the  sister  of  Caccianimico,  who  was  said  to  have  betrayed  her 
into  the  hands  of  the  Marquis  of  Este,  probably  Obizzo  II,  who  ap- 
pears among  the  tyrants  in  Inf.  xii,  113. 

58.  however  may  be  told.  Implying  that  there  was  more  than 
one  version  of  the  story. 

62.  not  so  many  tongues,  etc.  Caccianimico  means  that  there 
are  more  Bolognese  in  the  first  trench  than  there  are  in  the  world 
above.  There  are  not  so  many  people  living  between  the  Savena 
and  the  Reno  (the  two  rivers  between  which  Bologna  lies)  who  are 
taught  to  say  sipa,  the  Bolognese  for  sia,  "let  it  be,"  or,  in  other 
words,  who  used  the  Bolognese  dialect,  as  there  are  in  this  trench. 

70.  a  crag.  One  of  the  rock-bridges  which  started  from  the  out- 
side wall  of  Malebolge,  and  spanned  the  whole  series  of  trenches. 

72.  splintered  mass.  Lit.,  a  splinter  or  chip.  The  underlying 
idea  is  that  of  a  fragment  split  off  from  a  larger  mass. 

73.  endless  circlings.  The  endless  movement  of  the  transgressors 
round  the  trench. 

The  poets  now  cross  the  sinners'  line  of  march,  and  begin  to  cross 
the  bridge  toward  the  edge  of  the  next  trench. 

74.  it  opens.  The  bridge  forms  over  the  track  an  arch,  under 
which  the  shades  pass. 

77.  thou  hast  not  yet  beheld.  Vergil  means  that  Dante  has  as  yet 
only  seen  the  faces  of  the  company  which  moves  from  left  to  right 
and  confronts  the  poets.  The  faces  of  those  who  are  going  in  the 
same  direction  with  themselves,  and  who  keep  coming  up  behind 
them  and  walking  parallel  with  them,  he  has  not  seen.  Upon  these 
they  now  look  down  from  the  right-hand  side  of  the  bridge. 

86.  Jason.  The  leader  of  the  Argonautic  Expedition  in  quest  of 
the  golden  fleece  at  Colchis. 

88.  Lemnos.  One  of  the  largest  islands  in  the  Aegean  Sea, 
nearly  midway  between  Mt.  Athos  and  the  Hellespont.  Jason  and 
his  Argonauts  touched  at  the  island,  and  found  it  inhabited  only  by 
women  who  had  murdered  their  husbands,  and  had  chosen  as  their 
queen  Hypsipyle,  the  daughter  of  their  former  king,  Thoas,  whose 


250  THE  DIVINE  COMEDY 

flight  she  had  aided.     Jason  seduced  Hypsipyle  and  abandoned 
her, 

93.  already  cheated.  Deceived  the  other  women,  and  saved 
Thoas,  her  father.  Dante  has  taken  the  story  mainly  from  Statins, 
Theb.  V,  403  ff.  He  alludes  to  Hypsipyle  again,  Purg.  xxii,  115; 
xx\d,  100-101. 

95.  Medea.  Daughter  of  Aeetes,  King  of  Colchis.  By  her  aid 
Jason  obtained  the  fleece,  and  she  fled  with  him  as  his  wife  to  Greece, 
where  he  deserted  her  for  Glauce,  the  daughter  of  Creon,  King  of 
Corinth.  Medea  took  vengeance  upon  him  by  murdering  the  two 
children  she  had  borne  him,  and  by  destroying  Glauce  with  a  poi- 
soned robe. 

100.  intersects.  The  point  where  the  bridge  joins  the  embank- 
ment between  the  first  and  the  second  trench.  At  this  point  is  the 
spring  of  another  arch  crossing  the  second  trench,  so  that  the  end  of 
the  first  bridge  forms  a  buttress  or  shoulder  for  the  second.  The 
bridges  across  the  several  trenches  succeed  each  other  in  straight 
fines  to  the  well  at  the  bottom. 

103.  the  next  trench.  In  this  trench  are  punished  Flatterers.  They 
win  unlawful  influence  over  others,  and  gaui  their  own  ends  by  false 
representations  which  feed  the  self-conceit  of  their  victims,  and  im- 
pair or  destroy  their  rational  self-estimate.  Thus  they  minister  to  all 
uncleanness,  and  are  therefore  appropriately  immersed  in  filth.  Note 
the  contemptuous  terms  which  "ollow:  "whimper"  and  "muzzle." 

whimpering.  The  original  word  is  in  common  use  in  Florence  to 
denote  the  cries  of  a  woman  beginning  to  be  in  labor.  Scartazzini 
thinks  that  it  is  apphed  to  the  flatterers  as  being  vile  and  effeminate 
men. 

110.  without  our  mounting.  They  could  not  get  a  good  view  of 
the  bottom  of  the  second  trench  without  climbing  to  the  sununit  of 
the  arch. 

117.  it  was  not  apparent.  His  head  was  so  covered  with  filth, 
that  one  could  not  tell  whether  he  was  shaven  like  a  priest  or  not. 

124.  Alessio  Intenninei.  A  native  of  Lucca  of  whom  nothing  is 
known. 

126.  his  pate.  Lit.,  "his  pumpkin."  Another  contemptuous 
epithet. 

132.  filthy  nails.     Comp.  Aen.  iv,  673. 

135.  Thais.  The  name  of  a  courtesan  introduced  by  Terence  in 
his  "Emiuchus."  Dante  treats  her  as  a  real  personage;  and  having 
taken  the  story  at  second-hand  from  Cicero's  citation  ("De  Am." 
xx\i),  he  puts  into  the  mouth  of  Thais  the  words  which,  in  the  play, 
are  spoken  by  another  character.  The  point  of  the  reply  attributed 
to  Thais  seems  to  lie  in  the  word  "marvellous."  Cicero's  words  are: 
"Not  so  many  desire  to  be  endowed  with  virtue  itself  as  to  seem  to 
be  so.  Flattery  delights  such  men;  when  conversation  formed  accord- 
ing to  their  wishes  is  addressed  to  such  persons,  they  think  those 
deceitful  addresses  to  be  the  evidence  of  their  merits  .  .  .  'Does 
then  Thais  pay  me  many  thanks?'  It  was  enough  to  answer  'Yes, 
many;'  but  he  says,  'Monstrous.'  The  flatterer  always  exaggerates 
that  which  he  for  whose  pleasure  he  speaks  wishes  to  be  great." 


NOTES  251 


CANTO  XIX 

1.  O  Simon  Magus.  Simony,  according  to  Canon  law,  is  the  grav- 
est of  ecclesiastical  crimes.  The  name  was  derived  from  the  story 
of  Simon  Magus,  Acts  viii,  18-23,  who  offered  the  Apostles  money 
for  the  gift  of  the  Holy  Ghost.  As  the  imposition  of  Bishops'  hands 
was  supposed  to  impart  the  Holy  Spirit,  the  buying  and  selling  of 
ordination  was  regarded  as  simony.  The  term  was  gradually  ex- 
tended to  cover  traffic  in  ecclesiastical  offices  and  in  the  rights  of 
ecclesiastical  patronage,  and  to  the  purchase  of  admission  to  monastic 
orders.  According  to  primitive  usage,  a  candidate  for  an  Epis- 
copal vacancy  was  elected  by  the  clergy  and  people  of  the  diocese, 
subject  to  the  approval  of  the  Metropolitan  Bishop  and  his  suffra- 
gans. The  Merovingian  and  Carlo vingian  Kings  of  France  and  the 
Saxon  Emperors  of  Germany  conferred  bishoprics  by  direct  nomina- 
tion, or  by  recommendatory  letters  to  the  electors;  but  the  honors 
and  estates  of  a  see  were  oiten  granted  by  sovereigns,  prelates,  and 
lay-patrons  of  the  tenth  and  eleventh  centuries,  only  on  liberal  pay- 
ments by  the  recipients.  Thus  the  power  of  nomination  and  invest- 
iture became  an  instrument  of  the  grossest  rapacity,  and  church- 
offices  were  bestowed  on  the  highest  bidder.  The  decree  of  the 
Great  Roman  Synod  under  Hildebrand,  in  1075,  entirely  abrogating 
the  right  of  investiture  by  the  temporal  sovereign,  gave  the  watch- 
word for  a  war  of  a  hundred  years  between  the  Church  and  the  secu- 
lar power. 

5.  the  trumpet  sound.  That  your  deeds  should  be  publicly  pro- 
claimed. 

7.  tomb.     The  bolgia  or  trench. 

17.  my  fair  St.  John.  The  Baptistery  of  St.  John  the  Baptist  at 
Florence.     Formerly  the  Cathedral. 

18.  the  stand  of  the  baptizers.  At  the  comers  of  the  great  baptis- 
mal cistern  of  San  Giovanni  were  cylindrical  openings  in  the  thick- 
ness of  its  waU,  in  which  the  officiating  priests  stood  in  order  to 
escape  the  pressure  of  the  crowd.  The  font  with  its  circular  holes 
is  no  longer  to  be  seen  at  Florence,  having  been  destroyed  in  1576; 
but  a  similar  one  may  be  seen  in  the  Baptistery  at  Pisa.  In  this 
there  are  four  of  these  wells. 

20.  was  stifling.  Not  "drowning,"  as  there  was  no  water  in  the 
holes.  Probably  some  boy,  in  sport,  had  put  himself  into  the  well 
head  downward. 

21,  22.  every  man  to  undeceive.  This  account  may  convince  peo- 
ple that  I  did  not  do  it  wantonly. 

27.  withes  or  ropes.  Ritorte  are  flexible  green  willow  or  osier 
twigs  used  as  bands  to  fasten  fagots;  strambe  are  ropes  of  grass, 
plaited  but  not  twisted. 

35.  by  that  lower  bank.  The  embankment  on  the  inner  side  of  the 
trench,  separating  it  from  the  fourth  bolgia.  This  embankment 
was,  of  course,  lower  than  the  one  on  the  other  side  between  the 
third  and  second  trenches,  since  the  ten  pits  lie  on  a  slope,  although 
the  bottom  of  each  pit  is  level. 


252  THE  DIVINE  COMEDY 

46,  47.  with  his  shanks — lamenting.     Another  mocking  touch. 

48.  upside  down.  "Throughout  the  Canto  there  seems  to  be  a 
sort  of  running  parody  on  the  keynote  of  vice  versa  or  topsy-tu^^'y. 
.  .  .  The  priests  in  the  beautiful  Baptistery  of  St.  John  stand 
ministering  in  the  circular  stations  pro\'ided  for  them.  These  false 
priests  have  just  similar  receptacles,  neither  larger  nor  smaller,  in 
which  they  stand,  but  head  downward.  The  saints  above  have  an 
aureole  of  glory  upon  their  heads ;  these  simUariy  eminent  denizens 
of  Hell  (these  infernal  saints,  if  I  may  use  such  a  phrase)  have  their 
feet  surrounded  by  lambent  fire,  and  so,  as  we  may  say,  bear  upon 
the  soles  of  their  feet  this  mock  aureole  of  their  shame  and  torment." 
Moore,  "Dante  Studies,"  ii,  229. 

52.  when  fixed.  Fixed  in  his  place  for  execution.  The  refer- 
ence is  to  a  punishment  sometimes  inflicted  on  assassins  or  other 
malefactors,  in  which  the  offender  was  placed  head  downward  in  a 
hole,  into  which  earth  was  thrown  in  small  quantities  until  he  was 
suffocated.  The  picture  is  impressive  of  the  criminal  calling  back 
his  confessor  in  order  that  he  may  delay  the  fatal  moment. 

55.  cried  out.  The  occupant  of  the  hole  was  Pope  Nicholas  III, 
enthroned  in  1277,  died  in  1280. 

56.  O  Boniface.  Nicholas  mistakes  Dante  for  Boniface  VIII, 
who  died  in  1303.     Dante's  vision  is  in  1300. 

Boniface  VIII  was  an  object  of  Dante's  special  aversion.  He 
succeeded  Celestine  V  in  1295.  He  was  crafty,  rapacious,  ambi- 
tious, with  an  exaggerated  conception  of  the  papal  prerogative,  and 
a  reckless  arrogance  in  asserting  it.  Contemporary  Christendom 
wrote  him  down  in  the  words:  "He  came  in  like  a  fox,  he  ruled  like 
a  lion,  he  died  like  a  dog."  He  incurred  the  enmity  of  the  Franciscan 
Order  by  refusing  to  annul  the  provision  of  their  charter  which 
disquaUfied  them  from  holding  property,  and  by  seizing  for  his  own 
use  a  large  sum  which  they  ha^  deposited  with  bankers  as  the  price 
of  the  annulment.  He  came  into  collision  with  the  powerful  Roman 
house  of  the  Colonnas,  and  destroyed  Palestrina,  their  city.  By 
his  enormous  and  arrogant  demands  he  embroiled  himself  with 
Philip  the  Fair  of  France  and  Edward  I  of  England.  He  determ- 
ined to  sever  the  property  of  the  Church  from  all  secular  obliga- 
tions, and  to  declare  himself  the  sole  trustee  of  all  property  held 
throughout  Christendom  by  the  clergy,  the  monastic  bodies,  and 
the  universities;  so  that  without  his  consent  no  grant  or  subsidy, 
aid  or  benevolence  could  be  raised  on  these  properties  by  any  sov- 
ereign in  the  world.  The  principal  cause  of  Dante's  detestation  of 
Boniface  was  his  invitation  to  Charles  of  Valois,  the  brother  of 
Philip  IV  of  France,  to  go  to  Florence,  ostensibly  to  reconcile  the 
Bianchi  and  Neri,  but  really  to  carry  out  his  own  plan  of  becoming 
master  of  Tusciiny.  The'  entrance  of  Charles  into  Florence  in 
November,  1301,  was  the  signal  for  the  triumph  of  the  Blacks,  who 
had  treacherously  aided  Boniface,  the  expulsion  of  the  Whites,  and 
Dante's  life-long  banishment.  In  1303,  the  Colonnas  appeared 
with  a  troop  of  horse  at  Anagni  to  which  the  Pope  had  retired  for 
the  summer.  They  attacked  his  palace,  seized  him,  placed  him 
backward  on  a  horse,  and  led  him  through  the  town.     He  was  con- 


NOTES  253 

veyed  to  Rome  and  thrown  into  prison,  where  he  died  on  October 
11th.  With  him  fell  the  Hildebrandian  Papacy.  Dante  repeatedly 
lashes  Boniface  in  the  "Commedia."  See  Inf.  xxvii,  73-117;  Purg. 
XX,  88;  Par.  xii,  90;  xxvii,  22-27;  xxx,  146-148.  In  one  of  these 
passages,  however,  Purg.  xx,  88,  he  deprecates  the  violence  shown 
to  him  at  Anagni ;  but  he  pays  this  respect  to  the  office,  not  to  the 
man. 

57.  by  several  years  the  writing  lied.  By  "the  writing"  is  meant 
the  scroll  of  the  future  which  the  damned  were  able  to  read  (see  Inf. 
X,  101-104).  Nicholas  says,  in  effect,  that  Boniface  has  arrived  (as 
he  supposes)  three  years  too  early,  and  that  therefore  the  book  of 
the  future  has  lied  to  him. 

59,  60.  carry  off  by  fraud.  To  espouse  with  guile  the  fair  lady,  the 
Church.  The  reference  is  to  Boniface's  crafty  devices  to  secure  the 
Papacy  for  himself  by  bringing  about  the  abdication  of  Celestine  V, 
whom  he  afterward  put  in  prison,  where  he  died  in  1296.  See  note 
on  Inf.  iii,  58. 

61.  do  her  outrage.  By  simony.  He  exposed  the  church  for  sale 
as  a  prostitute.  "  He  made  many  of  his  friends  and  confidants 
cardinals  in  his  time,  among  others  two  very  young  nephews,  and 
his  uncle,  his  mother's  brother,  and  twenty  of  his  relations  and 
friends  of  the  little  city  of  Anagna,  bishops,  and  archbishops  of  rich 
benefices."     Villani,  Cron.  viii,  64, 

62,  63.  fail  to  imderstand.  Dante,  not  being  aware  of  Nicholas's 
mistake,  is  puzzled  at  his  words  about  Boniface. 

74.  son  of  the  she-bear.  A  member  of  the  Orsini  family  whose 
family  badge  was  a  she-bear,  Orsa. 

76.  I  pocketed,  and  here  myself.  Referring  to  the  hole  into 
which  he  was  thrust.     A  grim  joke  imder  the  circumstances. 

82.  already  is  the  time,  etc.  Nicholas  means  that  Boniface  will 
not  remain  in  the  hole  as  long  as  he  has  done.  Nicholas  died  in 
1280,  and  he  had  therefore  been  there  for  twenty  years.  Boniface 
was  to  die  in  1303;  Benedict  XI,  his  successor,  in  1304;  Clement  V 
m  1314;  so  that  Boniface  would  "stand  planted  with  red  feet"  a 
little  over  ten  years,  when  Clement  would  take  his  place. 

86.  a  lawless  shepherd.  Clement  V,  a  native  of  Gascony,  Arch- 
bishop of  Bordeaux  in  1299.  Elected  Pope  in  1305,  and  enthroned 
at  Lyons.  He  appears  never  to  have  entered  Italy.  It  was  during 
his  pontificate  that  the  papal  See  was  transferred  to  Avignon,  where 
it  remained  for  over  seventy  years.  Thus  are  explained  Dante's 
words  "from  the  west."  He  is  called  "a  pastor  without  law"  be- 
cause he  owed  his  election  to  an  intrigue  between  Phihp  the  Fair 
and  the  French  party  among  the  cardinals.  The  King  promised  to 
make  him  Pope  on  condition  that  he  would  swear  to  grant  him  six 
favors,  to  which  Clement  agreed.  See  the  story  in  Villani,  Cron. 
viii,  80. 

87,  88.  cover  up  both  him  and  me.  Clement  will  come  and 
take  his  place  over  Boniface  and  Nicholas,  who  will  fall  down  into 
the  recesses  below. 

Jason.  See  2  Maccabees,  iv,  7  flf.  In  175-165  B.C.  Antiochus 
Epiphanes  was  on  the  throne  of  Syria.     He  was  bent  upon  making 


254  THE  DIVINE  COMEDY 

his  whole  kingdom  Greek  in  language,  institutions,  customs,  and 
religion.  In  Judea  he  had  a  following  of  which  Jason,  the  brother 
of  the  High  Priest  Onias  III,  was  the  leader.  Jason  desired  the 
office  of  High  Priest,  which  conferred  great  political  as  well  as  relig- 
ious power;  since  the  High  Priest  was  virtually  the  head  of  the 
nation.  The  parallel  drawn  by  Dante  between  Clement  and  Jason 
is  ob"saous. 

92.  too  stupid.  I  was  a  fool  to  waste  so  much  time  in  censuring 
one  already  damned. 

93.  I  answered  him.  The  following  sentences  are  scathing.  ''If 
only  as  a  specimen  of  perfect  oratory,  this  invective  deserves  ever- 
lasting recollection."     J.  A.  Symon(fe. 

100.  the  giiilty  soul.     Judas.     See  Acts  i,  15-22. 

103.  the  Ul-gotten  money.  After  the  death  of  Manfred,  the  son 
of  Frederick  II,  in  1265,  Sicily  passed  by  papal  gift  into  the  hands 
of  Charles  of  Anjou,  brother  of  Louis  IX  of  France.  His  cruelties  in 
Sicilv  caused  a  conspiracy  against  him,  headed  by  Peter  of  Aragon, 
the  husband  of  Manfred's  daughter.  Charles  had  his  eye  on  the 
East,  and  was  planning  to  add  Constantinople  to  his  realm;  but  the 
conspirators  were  in  conference  with  Palaeologus  the  Eastern  Emp- 
eror. Palaeologus  offered  Nicholas  III  a  vast  sum  to  enable  him 
to  defy  the  power  of  Charles;  and  Nicholas  consented  to  recognize 
the  claim  of  Peter  of  Aragon,  and  promised  him  the  investiture  of 
Sicily.  Nicholas  died  before  the  conspiracy  came  to  a  head.  It  is 
to  this  transaction  between  Nicholas  and  the  Eastern  Empire  that 
Dante  alludes  here. 

105.  reverence.  Even  in  the  midst  of  this  invective,  Dante  re- 
tains his  respect  for  the  papal  office.     Comp.  Purg.  xix,  132. 

110.  the  Evangelist.  St.  John,  assumed  to  be  the  author  of  the 
Book  of  Revelation. 

114.  the  ten  horns.  The  passage  referred  to  is  Rev.  xvii,  1-3. 
UntQ  we  know  just  what  the  \sTiter  of  the  Apocalypse  meant  by 
that  passage,  it  is  somewhat  hazardous  to  attempt  an  interpreta- 
tion of  his  allegory  as  resolved  into  Dante's  aUegory.  Two  things 
are  certain:  1.  that  Dante  regards  the  passage  as  referring  to 
Christian  Rome  under  the  Papacy.  2.  That  he  varies  the  Biblical 
allegory,  attributing  the  seven  heads  and  ten  horns  to  the  woman 
instead  of  to  the  beast.  Beyond  this  it  behoves  one  to  tread  cau- 
tiously. In  the  Biblical  allegory  the  seven  heads  and  ten  horns 
represent  e\-il  forces.  In  Dante  they  appear  to  represent  powers 
possessed  by  the  Church,  which  may  vindicate  themselves  as  hon- 
orable and  beneficent  so  long  as  the  Pope  (the  "spouse")  shall 
administer  them  righteously.  Whether  or  not  the  seven  heads 
signify  the  seven  sacraments  or  the  seven  virtues,  and  the  ten  horns 
the  ten  commandments,  I  do  not  venture  to  pronounce.  It  may 
be  said  generally  that  until  the  principles  of  Apocalyptic  interpre- 
tation are  settled,  as  they  are  far  from  being,  one  runs  much  risk  in 
offering  expositions  of  either  John  or  Dante. 

The  word  argomento,  v^hich  I  have  rendered  "warrant,"  is  verj"- 
variously  translated — "mode  of  government,"  "proof,"  "witness." 
The  general  idea  seems  to  be  that  the  Church  had  a  divine  warrant 


NOTES  255 

for  her  authority,  and  a  divinely  ordained  scheme  of  administration, 
which  would  vindicate  itself  so  long  as  she  should  prove  herself 
faithful  to  God. 

119.  Ah,  Constantino!  The  reference  is  to  what  was  known  as 
"the  Donation  of  Constantine."  According  to  the  legend,  Constan- 
tine  was  cured  of  leprosy  by  the  Roman  Bishop  Silvester,  in  324  A.D. ; 
in  return  for  which  he  bestowed  on  the  Popes  the  free  and  perpetual 
sovereignty  of  Rome,  Italy,  and  the  provinces  of  the  West,  declar- 
ing his  intention  to  remove  the  seat  of  his  sovereignty  from  Rome, 
and  to  establish  a  new  imperial  centre  at  Byzantium:  ''since,  where 
the  sovereign  of  priests  and  the  head  of  the  Christian  religion  has 
been  placed  by  the  Heavenly  Emperor,  it  is  not  fitting  that  there 
the  earthly  Emperor  should  also  bear  sway."  This  stupendous 
fraud  was  first  made  public  between  A.D.  755  and  766,  in  the  form 
of  a  forged  imperial  edict,  produced  in  a  letter  of  Pope  Adrian  I  to 
Charlemagne.  The  document  served  later  Popes  as  a  pretext  for 
wholesale  appropriations  of  territory.  The  forgery  was  exposed  by 
Laurentius  Valla  in  the  fifteenth  century.  This  whole  passage,  11. 
110-121,  was  expunged,  by  order  of  the  Spanish  Inquisition,  from 
copies  of  the  Commedia  introduced  into  Spanish  territory.  To  these 
were  added  Inf.  xi,  8-9,  and  Par.  ix,  136-137. 

A  most  interesting  and  detailed  account  of  "  the  Donation  of  Con- 
stantine" may  be  found  in  Mr.  Hodgkin's  "Italy  and  her  Invaders," 
Vol.  VII,  Chap.  7. 


CANTO  XX 

3.  cantica.  I  have  retained  the  original  word  in  the  translation 
as  there  is  no  single  English  word  precisely  answering  to  it.  It 
means  the  first  division  of  the  Commedia — the  Inferno.  "Canto" 
has  been  similarly  appropriated  in  English, 

8.  valley.     Strictly,  a  great  valley. 

10,  prayer-processions.  The  original,  letane,  is  our  "litany"; 
properly  a  supplicatory  prayer,  but  here  used  of  processions  of 
suppliants, 

14,  the  face  was  turned,  Benvenuto  says:  "Now  here  they  are 
seen  with  their  faces  turned  the  wrong  way;  for  they  had  wished 
to  see  far  away  in  the  distant  future  events  which  must  be  uncertain 
to  man;  wherefore,  by  the  just  judgment  of  God  who  alone  knoweth 
the  future,  they  can  now  only  see  behind  them;  and  in  truth  we  may 
often  remark  that  in  their  own  affairs  these  soothsayers  are  par- 
ticularly shortsighted  and  unfortunate,  and  always  retrograding; 
they  are  like  the  monkey,  which,  the  more  it  advances,  the  more  it 
displays  its  hinder-parts;  and  they  are  weeping,  because  they  always 
end  in  the  greatest  poverty  and  wretchedness," 

26,  I  wept.  Here  Dante  is  again  moved  with  pity,  for  which  he 
is  presently  rebuked  by  Vergil. 

30,  here  piety  doth  live,  etc.  There  is  a  play  on  the  word  pietd, 
which  means  both  "piety"  and  "pity."     Vergil  says  that  for  one  to 


256  THE  DIVINE  CX)MEDY 

be  truly  pious  all  pity  must  be  extinguished  for  those  who  are  justly 
suffering  the  wrath  of  God.  Vergil  himself,  however,  is  moved  with 
compassion  in  Inf.  iv,  19-20. 

32.  passion  brings  to  bear.  Who  allows  feeling  to  operate  where 
God's  judgments  are  concerned. 

36.  Ampbiaraus.  One  of  the  seven  kings  who  joined  the  expedi- 
tion against  Thebes.  He  warned  his  companions  against  the  enter- 
prise. Being  a  prophet,  he  foresaw  that  the  issue  would  be  fatal  to 
himself.  As  he  was  about  to  be  slain  by  a  spear,  Zeus  interposed, 
and  cleft  open  the  earth  with  a  thunderbolt,  bidding  it  swallow  up 
Amphiaraus  and  his  charioteer.  Dante  took  the  storj'-  from  Statins, 
Theb.  close  of  A'ii  and  beginning  of  viii.  The  cry  which  Dante 
ascribes  to  the  Thebans  is  put  by  Statins  into  the  mouth  of  Pluto. 

38.  Minos.     See  Inf.  v,  4  S. 

42.  Tiresias.  A  renowned  Theban  soothsayer,  and  blind.  He 
plays  so  prominent  a  part  in  the  mythical  history  of  Greece  that 
there  is  scarcely  any  event  with  which  he  is  not,  in  some  way,  con- 
nected. The  story  to  which  Dante  alludes  is  found  in  Ovid,  Metam. 
iii,  316  ff. 

49.  Aruns.  An  Etruscan  soothsayer  who  foretold  the  civil  war 
between  Caesar  and  Pompey.  Dante  follows  Lucan  in  the  descripy- 
tion  of  his  dwelling  among  the  hills  of  Luni.     Phars.  i,  584-588. 

Luni.  An  ancient  Etruscan  town,  formerly  Luna,  on  the  river 
Macra.  It  possessed  a  large  harbor,  now  the  Gulf  of  Spezzia.  It 
was  celebrated  for  its  white  marble,  now  known  as  Carrara  marble, 
from  the  name  of  the  neighboring  town.     See  the  foUo^sing  lines. 

56.  Manto.  By  some  oversight,  Dante  not  only  places  Man  to 
here,  but  in  telling  Statins  in  Purgatorj'^  who  are  with  himself  in 
Limbo,  he  mentions  "the  daughter  of  Tiresias."     See  Purg.  xxii,  116. 

58.  where  I  was  bom.  See  note  on  Inf.  i,  76.  In  Vergil's  ver- 
sion here  of  the  story  of  the  founding  of  Mantua,  he  is  inconsistent 
with  his  own  account  in  the  Aeneid.     See  Aen.  x,  198-200: 

"  Then  he,  e'en  Genus,  stirreth  up  folk  from  his  father's  shore, 
Who  from  the  love  of  Tuscan  flood,  and  fate- wise  Manto  came. 
And  gave,  O  Mantua,  walls  to  thee,  and  gave  his  mother's  name." 

W.  Morris's  Translation. 

In  other  words,  Mantua  was  founded  by  Ocnus,  son  of  the  river 
Tiber  and  the  prophetess  Manto;  and  Ocnus  called  it  after  his 
mother's  name.  Dante  would  seem  to  desire  to  correct  the  Ver- 
gilian  story.  He  makes  Vergil  say  that  Manto  was  unmarried,  and 
that  she  herself  selected  the  site  of  Mantua. 

61.  Bacchus's  City.  Thebes,  of  which  Bacchus  was  the  tutelar 
deity. 

62.  up  in  fair  Italy,  etc.  The  following  beautiful  description 
illustrates  Dante's  delight  in  physical  geography.  It  portrays  the 
basin  of  the  Lago  di  Garda  from  north  to  south. 

63.  alpine  range.  The  group  of  mountains  between  Val  Cam- 
onica  and  the  vaUey  of  the  Adige  extends,  longitudinally,  from  the 
Lago  di  Garda  to  the  right  bank  of  the  upper  Adige,  embracing  the 
heights  of  Adamello,  Tonale,   and  Ortles.     Going  northward,  it 


NOTES  257 

terminates  above  the  right  bank  of  the  Adige,  on  the  other  side  of 
which,  near  Meran,  was  the  castle  of  Tiralli,  the  seat  of  the  Tyrol- 
ean counts,  and  the  first  German  territory.  "Tyrol"  may  refer  to 
the  country  or  to  the  Schloss  Tirol. 

65.  Benaco,     Benacus  was  the  Roman  name  of  Lago  di  Garda. 

68.  Apennino.     See  below. 

69.  Val  Camonica.  One  of  the  largest  valleys  in  Lombardy, 
lying  to  the  west  of  Lago  di  Garda,  and  extending  for  over  fifty 
miles  from  the  chain  of  Tonale  and  the  mountains  south  of  Bormio, 
as  far  as  the  Lake  of  Iseo.  The  river  Oglio  flows  through  it  into 
this  lake.  Very  charming  descriptions  of  this  region  may  be  found 
in  Mr.  Douglas  Freshfield's  "Italian  Alps,"  1875. 

By  Apennino,  which  is  the  best  attested  reading,  Dante  certainly 
cannot  mean  the  Apennine  range.  It  is  probable  that  he  wrote 
Pennino,  which  appears  in  two  manuscripts.  But  what  did  he 
mean  by  Pennino?  It  is  claimed  that  there  is  a  mountain  of  that 
name  on  the  upper  course  of  the  Toscolano,  one  of  the  most  consid- 
erable tributaries  of  the  Lake,  but  the  only  stream  which  Pen- 
nino sends  into  the  Lake;  whereas  Dante  says  that  Pennino  is 
bathed  through  more  than  a  thousand  sources  with  the  water  which 
falls  to  rest  in  the  Lake.  Bassermann,  who  discusses  the  matter 
very  minutely,  holds  that,  instead  of  Val  Camonica  the  reading 
should  be  Val  di  Monica,  which  has  the  support  of  only  one  manu- 
script, though  an  important  one.  Monica  or  Moniga  is  on  the 
western  side  of  the  Lake,  not  far  from  its  southern  extremity. 
Although  the  name  Val  di  Monica  no  longer  exists,  there  is  a  valley 
behind  Monica  which  runs  to  the  bold  headland  of  Manerba.  South 
of  that  point,  the  Lake  receives  no  tributaries  worth  mentioning. 
Thus  Monica  is  well  adapted  to  mark  the  point  where  the  shore 
ceases  to  be  a  source-region.  Bassermann  further  maintains  that 
Dante  means  by  Pennino  the  whole  stretch  of  the  mountains  which 
engird  the  Lake  from  Garda  on  the  eastern  side  to  Monica  on  the 
western;  so  that  his  statement  is  simply:  "The  mountains  from 
Garda  round  to  Val  di  Monica  engird  the  Lake,  and  feed  it  from 
countless  sources."  He  urges  that  the  geographer  Ptolemy  puts 
the  Pennine  Alps  on  the  west,  as  well  as  on  the  east  of  the  Lake. 
All  this  if  we  could  be  sure  of  the  reading  Val  di  Monica,  which  Mr. 
Butler  says,  arose  from  a  misunderstanding  as  to  the  position  of 
Val  Camonica.  But  is  it  certain  that  Dante  meant  Val  Camonica 
in  any  case?  Mr.  Butler  also  thinks  that  Dante  took  Pennino  in  a 
wide  sense,  as  applying  to  any  part  of  the  Central  Alps;  and  that 
the  term  Pennine  Alps  was  very  loosely  used.  So  far,  he  is  substan- 
tially in  accord  with  Bassermann. 

It  seems  to  me  (1)  that  little  importance  can  be  attached  to  the 
hypothesis  of  a  single  mountain  named  Apennino.  (2)  That  the 
reading  Pennino  has  very  strong  claims.  (3)  That  Dante  used 
Pennino  (if  he  did  write  thus)  in  a  wide  and  general  sense.  (4) 
That  the  reading  Val  di  Monica  is  not  sufficiently  attested.  If  it 
could  be  trusted,  it  would  go  very  far  to  solve  the  difficulty,  and  I 
should  be  inclined  to  accept  Bassermann' s  solution  entire.  It 
seems  pretty  clear  that  Dante's  general  meaning  is  that  the  system 


258  THE  DIVINE  COMEDY 

of  mountains  encircling  Lago  di  Garda  is  bathed  with  a  multitude 
of  streams  which  flow  into  the  Lake. 

70.  a  place — midway.  Dante  means  the  point  where  the  three 
dioceses  of  Trent,  Brescia,  and  Verona  adjoin  each  other,  so  that 
the  bishop  of  either  diocese  might  lawfully  exercise  his  functions 
there.  Opinions  differ  as  to  the  point.  Evidence  seems  to  favor 
the  mouth  of  the  river  Tignalga  near  Campione  on  the  western  shore. 

73.  Peschiera.  At  the  southeastern  comer  of  the  Lake,  at  the 
outflow  of  the  river  Mincio. 

74.  Brescians,  Bergamasques.  Peschiera  is  about  twenty  miles 
southeast  of  Brescia,  and  fifty  miles  southeast  of  Bergamo. 

76.  all  that  cannot  stay,  etc.  All  the  water  which  cannot  be  con- 
tained in  the  Lake  flows  out  and  forms  the  Mincio.  The  name 
Mincio  is  retained  as  far  as  Govemo,  where  the  Mincio  joins  the  Po. 
Govemo  is  on  the  right  bank  of  the  Mincio,  about  twelve  mUes  from 
Mantua.     Dante  now  foUows  the  course  of  the  Mincio  to  IMantua. 

84.  turns  it  to  a  marsh.  Mantua  is  surrounded  with  lakes  and 
marshes,  which  add  at  once  to  its  strength  and  to  its  insalubrity 
(see  1.  85).  The  marshes  have  been  partially  drained  by  the  French. 
"The  approach  to  the  town  from  the  old  station  of  S.  Antonio  is 
most  picturesque.  The  long  lines  of  grej'^  buildings,  broken  here 
and  there  by  a  tall  campanUe,  rise  abruptly  from  the  lagoons  which 
surround  it.  The  fishing  vessels  flap  their  red  sails  close  beneath 
the  windows  of  the  houses.  In  the  shallower  parts  of  the  marsh 
masses  of  reeds  rustle  and  sigh  in  the  wind,  the  very  reeds  described 
by  Vergil  as  a  characteristic  feature  of  his  native  place : 

*  Here  wanton  Mincius  winds  along  the  meads, 
And  shades  his  happy  banks  with  bending  reeds.'  " 

Hare,  "  Cities  of  Northern  and  Central  Italy." 

86.  cruel  virgin.  Vergil,  in  the  Aeneid,  says  she  was  married  and 
had  two  sons,  Ocnus  and  Mopsus.  Benvenuto  suggests  that  she 
was  umnarried  when  she  first  settled  in  the  place,  and  was  married 
afterward.  As  to  the  epithet "  cruel,"  Statins,  Theb .,  iv,  463,  describes 
her  as  assisting  her  father  in  magic  rites,  tasting  blood  from  bowls, 
etc.  In  that  passage  Statins  describes  her  as  unmarried,  and  some 
are  inchned  to  interpret  cruda  in  that  sense. 

100.  Casalodi.  The  name  of  a  Mantuan  family,  derived  from  a 
fortress  in  Brescia. 

101.  Pinamonte.  Lord  of  Mantua,  1272-1291.  Desiring  to  get 
the  government  of  Mantua  into  his  own  hands,  he  took  advantage 
of  the  hostility  of  the  people  to  the  Counts  of  Casalodi,  and  advised 
Alberto  da  Casalodi  to  expel  many  of  the  nobles.  By  this  advice  he 
confirmed  the  popular  hatred  of  the  Casalodi,  and  then  turned  upon 
Alberto  and  drove  him  from  the  city  along  with  almost  every  family 
of  note. 

114.  Greece  was  so  destitute  of  males.  At  the  time  of  the  Trojan 
war. 

115.  scarcely  for  the  cradles  they  remained.  Hyperbole.  The 
male  population,  old  and  young,  flocked  to  Troy  in  such  numbers 
that  hardly  any,  even  infants,  remained. 


NOTES  259 

116.  Calchas.  The  soothsayer  whom  the  Greeks,  on  their  de- 
parture for  the  Trojan  war,  appointed  their  priest  and  prophet. 
It  was  he  who  predicted  that  the  Grecian  fleet  would  not  be  able  to 
sail  until  Agamemnon  should  have  sacrificed  his  daughter  Iphi- 
genia.  It  will  be  seen  that  Dante  mixes  two  stories.  In  the  Aeneid 
there  is  no  mention  of  Eurypylus's  being  associated  with  Calchas  in 
tixing  the  time  for  the  sailing  of  the  Grecian  fleet;  but  they  are  assoc- 
iated in  the  incident  of  Iphigenia.     Aen.  ii,  122  ff. 

118.  Etirypylus.  He  was  sent  by  the  Greeks  to  consult  the 
oracle  of  Apollo  about  their  returning  from  Troy.  He  brought  back 
the  answer  that,  as  they  had  purchased  permission  to  sail  from 
Greece  with  the  blood  of  Iphigenia,  so  they  must  purchase  their 
return  with  blood.     See  Aen.  ii,  114-119. 

123.  Michael  Scott.  Best  known  through  Walter  Scott's  "Lay 
of  the  Last  Minstrel."  He  was  bom  at  Balwearie  in  Fifeshire,  about 
1190.  He  appears  at  different  times  in  Oxford,  Pavia,  Toledo, 
Germany.  He  was  a  student  of  Astrology,  Alchymy,  Physiology, 
and  Chiromancy.  He  wrote  a  commentary  on  Aristotle,  and  sev- 
eral treatises  on  Natural  Philosophy,  and  passed  as  a  skilful  magic- 
ian.    He  died  in  Scotland  about  1250. 

124.  Guide  Bonatti.  An  astrologer  and  soothsayer  of  Forli.  A 
tiler  by  trade.  He  is  said  to  have  written  a  work  on  Astrology.  He 
acted  as  astrologer  to  Guido  da  Montef eltro  (see  Inf.  xxvii) ,  and  it  is 
said  that  by  his  aid  Guido  won  his  victory  over  the  French  papal 
forces  at  Forh,  May  1,  1282. 

125.  Asdente.  "Toothless."  A  shoemaker  of  Parma,  renowned 
as  a  soothsayer  and  prophet  in  the  latter  half  of  the  thirteenth  cen- 
tury.    He  is  mentioned  in  the  Convito,  iv,  16,  5. 

130.  effigy.  An  effigy  of  the  person  on  whom  the  sorcerer's 
charms  are  practised.  See  Vergil's  8th  Eclogue.  The  idea  is  pow- 
erfully worked  out  in  Dante  Gabriel  Rossetti's  weird  poem,  "Sister 
Helen."     It  may  also  be  found  in  Southey's  "Thalaba,"  ix,  24-27. 

133.  Cain  and  the  thorns.  Here  is  one  of  Dante's  technical  and 
rather  pedantic  descriptions  of  astronomical  phenomena,  which  will 
be  more  fully  discussed  in  the  notes  on  the  Purgatorio.  What  he 
means  is,  in  brief,  that  the  moon  is  setting  in  the  world  above.  The 
moon  is  described  as  "Cain  and  the  Thorns,"  which  term  applies 
strictly  to  the  spots  on  the  moon  or  to  what  is  still  called  "the  man 
in  the  moon,"  according  to  the  popular  belief  that  this  was  Cain 
with  a  bundle  of  thorns,  possibly  with  reference  to  his  unacceptable 
offering  to  God.  See  Par.  ii,  49-51.  The  moon  occupies  the  bor- 
ders of  both  the  hemispheres;  that  is,  of  the  northern  and  southern 
hemispheres — the  hemisphere  of  Jerusalem  and  the  hemisphere  of 
Purgatory.  See  Introduction  under  "Dante's  Cosmogony."  The 
moon,  then,  is  on  the  horizon  line,  and  is  setting,  or  touching  the 
wave  below,  i.  e.  on  the  farther  side  of  Seville,  or  the  West.  The 
extreme  western  limit  of  the  world  was,  to  Dante,  the  Pillars  of 
Hercules;  and  this  he  expresses  by  Spain,  Gades,  Morocco,  or  Seville. 

135.  yesternight.  The  night  before  the  last,  it  being  now  about 
6  A.M.     The  night  between  Holy  Thursday  and  Good  Friday. 

137.  no  harm  she  did  thee.    But  rather  aided  thee  with  her  light. 


260  THE  DIVINE  COMEDY 


at  a  certain  time.     On  another  occasion  which  Vergil  does  not 
mention — the  time  when  he  was  in  the  gloomy  wood. 


CANTO  XXI 

3.  held  the  summit.  Occupying  the  middle  and  highest  point  of 
the  bridge  over  the  fifth  trench,  from  which  they  looked  directly 
down  into  the  trench. 

7.  in  the  Arsenal.     One  of  Dante's  most  famous  simUes. 

Readers  of  Aristophanes  will  be  reminded  of  the  passage  in  "the 
Achamians,"  552  S.  "And  the  dock-yard  again  had  been  filled 
with  spars  getting  cut  into  oars,  wooden  pins  sounding,  bottom-oars 
getting  furnished  with  thongs,  boatswains'  flutes,  fifes,  whistlings." 

In  this  trench  are  punished  Barrators.  Barratry  is  malversation 
of  a  public  office  or  trust;  traffic  in  public  offices;  generally,  the  sell- 
ing of  justice,  office,  or  employment. 

17.  a  thick  pitch.  The  si^iificance  of  the  punishment  \s  thus 
explained  by  Benvenuto:  "First,  because  pitch  is  dark  and  black, 
and  barratry  blackens  with  infamy;  secondly,  because  pitch  is 
tenacious,  viscous,  and  sticky;  and  so  is  barratry,  which  is  founded 
upon  avarice,  and  whosoever  is  once  infected  with  it  is  never  again 
able  to  get  quit  of  it;  thirdly,  because  pitch  defiles  all  who  touch  it, 
as  Solomon  has  said;  and  in  like  manner  this  barratry  is  so  contag- 
ious, that  if  a  very  saint  were  to  enter  a  court  or  hold  offices  about 
a  court,  he  would  become  a  barrator.  .  .  .  fourthly,  because  all 
that  is  below  the  surface  of  the  pitch  is  unseen;  and  in  like  man- 
ner barratry  plies  its  craft  occultly  and  secretly."  He  goes  on  to 
draw  a  very  minute  and  ingenious  analogy  between  the  arsenal  and 
a  court  of  princes  or  Popes.  Gabriel  Rossetti  (quoted  by  Dr. 
Moore)  suggests  that  this  whole  episode  of  the  barrators  was  a  par- 
ody of  a  disaster  which  occurred  at  Florence  on  May  1 ,  1303,  on  the 
occasion  of  a  singular  entertainment  in  honor  of  the  Cardinal  da 
Prato  who  was  sent  to  Florence  as  a  peacemaker  by  Benedict  XI. 
There  was  a  representation  of  the  Inferno  with  demons  and  tor- 
tured spirits,  and  among  the  forms  of  torture  were  caldrons  of  boiling 
water  and  pitch.  The  crowded  Ponte  alia  Carraia  gave  way,  and 
many  fell  into  the  water  and  were  drowned.  The  entertainment  is 
described  by  Villani,  Cron.  %dii,  70. 

20,  21.  swelled  up  and  settled  down.  Comp.  Vergil,  Geor.  ii, 
479-480. 

34,  35.  with  his  haunches  both  encimibered.  The  sinner  was 
astride  of  the  demon's  shoulders,  and  the  fiend  was  holding  him  by 
the  feet.  Others  represent  the  fiend  as  holding  the  wretch's  feet 
over  his  shoulders,  while  the  body  hangs  down  his  back.  Mr.  Ver- 
non notes  that  in  Michel  Angelo's  "Last  Judgment,"  in  the  Sistine 
Chapel,  one  of  the  sinners  is  represented  as  being  carried  by  a  demon 
in  something  like  the  former  posture. 

36.  Malebranche.  "Evil  Claws."  A  collective  name  for  the 
fiends. 


NOTES  261 

37.  elders.  The  Elders  or  Ancients  were  the  principal  magis- 
trates of  Lucca,  answering  to  the  Priors  in  the  Florentine  Republic. 

Saint  Zita.  The  patron  saint  of  Lucca.  She  was  of  humble  ori- 
gin, and  her  sanctity  was  in  high  repute.  She  was  the  patroness 
of  servants. 

38.  from  off  our  bridge.  The  demon  spoke  from  the  bridge  on 
which  Vergil  and  Dante  were  standing. 

42.  except  Bonturo.  Ironical.  Bonturo  was  a  notorious  barrator. 
He  was  the  head  of  the  popular  party  in  Lucca  at  the  beginning  of 
the  fourteenth  century.  He  controlled  nearly  all  the  offices  in  the 
city.  He  was  finally  expelled  by  the  Lucchese  for  his  agency  in  a 
war  with  Pisa,  in  which  they  were  worsted. 

47.  doubled  up.  With  his  back  arched  above  the  surface,  his 
head  and  legs  remaining  beneath  the  pitch. 

50.  the  holy  coimtenance.  The  culprit's  posture  on  emerging 
from  the  pitch  suggests  to  the  demons  the  attitude  of  worship. 
Hence  the  following  jeer.  The  Santo  Volto,  or  holy  countenance, 
was  a  wooden  image  of  Christ  held  in  great  veneration  by  the  Luc- 
chese. The  legend  runs  that,  after  the  death  and  ascension  of 
Jesus,  Nicodemus  desired  to  carve  a  figure  of  the  Crucified.  Having 
finished  the  cross  and  the  bust,  and  while  he  was  endeavoring  to 
recall  the  features  of  the  face,  he  fell  asleep,  and  on  waking  found 
the  head  completed  by  celestial  hands. 

52.  the  Serchio.  The  river,  a  few  miles  north  of  Lucca,  turns  to 
the  southwest,  and  flows  past  the  city  into  the  Mediterranean,  not 
far  from  Viareggio.     It  was  a  favorite  bathing-place. 

66.  once  before.     See  Inf.  ix,  22-27. 

69.  the  sixth  bank.  At  the  end  of  the  bridge,  and  on  the  embank- 
ment between  the  fifth  and  sixth  trenches. 

79.  Malacoda.     The  leader  of  the  troop  of  demons. 

81.  how  does  it  help  him  ?  The  demon  was  muttering  to  himself: 
"  What  good  will  it  do  him  to  talk  with  me?  We  wiU  have  our  hooks 
upon  him  shortly." 

91,  92.  thou  who— art  sitting.     Addressing  Dante.     See  11.  62-63. 

98.  Caprona.  A  castle  in  the  Pisan  territory,  about  five  miles 
from  the  city  of  Pisa.  Dante  refers  here  to  its  capture  by  the  Tus- 
can Guelfs  with  the  Lucchese  and  Florentines;  and  implies  that  the 
garrison  capitulated  and  marched  out  under  safe-conduct. 

108.  Scanniglione.  Meaning  "the  tumbler"  or  "ruffler."  It  is 
said  that  there  were  at  Siena  certain  soldiers  armed  with  long  spears 
with  hooks  at  the  head,  with  which  they  laid  hold  of  robbers,  and 
that  they  were  called  Scarmiglioni. 

110.  it  is  not  possible,  etc.  He  means  that  the  poets  cannot 
cross  the  sixth  trench  by  the  bridge  which  is  in  a  direct  line  with  the 
one  they  have  just  crossed,  because  it  is  broken.  They  are  there- 
fore to  follow  the  embankment  to  the  left,  along  the  edge  of  the 
sixth  Bolgia,  until  they  come  to  the  next  rock-bridge. 

115.  yesterday,  etc.  Malacoda  accounts  for  the  destruction  of 
the  bridge  by  the  earthquake  which  occurred  at  the  Crucifixion. 
He  is  thus  precise,  possibly,  to  inspire  Vergil  with  confidence  in  his 
statement.     Dante  introduces  this  in  order  to  fix  accurately  the 


262  THE  DIVINE  COMEDY 

year,  day,  and  hour  of  this  part  of  his  journey.  He  says  (Conv.  iv, 
23,  6)  that  our  Saviour  chose  to  die  when  he  was  thirty-four  years 
old.  Adding  34  to  1266  would  give  1300,  the  year  commonly 
assigned  to  the  vision.  He  further  says  that  it  is  five  hours  earlier 
than  the  hour  of  our  Lord's  death,  which  took  place  on  the  previous 
day,  1266  years  ago.  Dante  held  that  Christ  died  at  midday  (Conv. 
iv,  23,  6),  the  sixth  hour  according  to  St.  Luke;  so  that,  deducting 
five  hours  from  twelve,  we  have  for  the  present  time  7  a.  m.,  Easter 
Eve,  1300.  The  passage  is  important  as  fixing  a  point  from  which 
other  time-computations  in  the  poem  can  be  made. 

120.  is  airing.  A  very  graphic  word  in  the  original.  It  means 
to  hang  out  linen  to  dry  or  air.  So  the  wretches  in  the  pitch  are  said 
to  come  to  the  surface  in  order  to  air  themselves. 

122.  Alichino,  etc.  Various  translations  and  explanations  of 
these  names  are  offered;  but  few  of  the  names  have  an  obvious 
meaning.  Malebranche,  *'e\il  claws,"  and  Malacoda,  ''evil  tail," 
are  plain;  but  it  is  better  to  let  the  rest  stand  undefined.  PhU- 
alethes's  attempt  in  his  excellent  German  version  is  truly  heroic,  and 
his  ingenuity  is  worthy  of  a  better  cause.  A  plausible  account  of 
this  fist  of  names  is  offered  by  Rossetti,  who  is  followed  by  Dr. 
Moore.  It  is  that  they  are  caricatures  of  the  names  of  certain 
political  officials  in  Florence  who  were  Dante's  bitterest  enemies. 
Dr.  Moore's  remarks  in  the  second  series  of  his  "Dante  Studies," 
p.  232  fif,  should  by  all  means  be  read. 

130.  the  dens.  Notice  the  variety  of  terms  by  which  Dante 
describes  the  trenches  of  Malebolge:  valley,  great  valley,  ditch, 
cleft,  tomb,  throat. 

140.  stews.  The  sinners  in  the  pitch.  The  original  word,  lesso, 
is  used  principally  in  Tuscany  instead  of  hoUito,  "a  boil"  (as  we  say 
"a  roast"),  which  is  common  in  other  parts  of  Italy.  It  is  the 
houlli. 

This  canto  and  the  next  are  marked  by  a  vein  of  comicality 
which  is  very  rare  in  Dante.  He  is  often  enough  grotesque,  and 
gives  abundant  e\idence  of  a  grim,  sardonic  humor,  little  adapted 
to  provoke  laughter.  Here,  however,  there  is  an  element  of  broad 
farce.  None  the  less  it  is  farce  which  heightens  the  bestial  horror  of 
the  whole  scene.  Some  one  has  suggested  that  it  was  introduced 
in  order  to  relieve  the  strain  on  the  reader's  feehngs!  That  must 
be  a  remarkable  reader  who  would  say  on  reading  these  cantos: 

"  For  this  relief  much  thanks." 

142.  with  his  teeth  his  tongue  had  pressed.  The  gross  obscenity 
of  the  last  three  lines  requires  no  comment.  Only  it  is  to  be  kept 
in  mind  that  Dante  was  possessed  with  the  thought  that  sin  tends  to 
bestiahty;  that  he  is  under  all  circumstances  a  plain  speaker;  and 
that  he  intentionally  infused  into  this  scene  as  much  of  the  bestial 
element  as  he  could. 


NOTES  263 


CANTO  XXII 

4.  Aretines.  After  the  expulsion  of  the  Guelfs  from  Arezzo  in 
1287,  there  were  constant  hostiUties  between  that  city  and  Florence, 
and  encounters  of  skirmishing-parties  were  frequent.  Some  think 
that  the  reference  is  to  the  battle  of  Campaldino  in  1289,  between 
the  Florentine  Guelfs  and  the  Ghibellmes  of  Arezzo.  Some  of 
Dante's  later  biographers  claim  that  he  was  present  at  that  battle. 

7.  bells.  The  Florentine  army  was  accompanied  to  the  j&eld  by 
a  great  bell  called  Martinella,  which  for  thirty  days  before  the  com- 
mencement of  hostilities  tolled  continually  from  the  arch  of  Porta 
Santa  Maria  as  a  public  declaration  of  war.  On  taking  the  field  the 
beU  was  removed  to  a  wooden  tower  which  was  placed  on  a  car. 
Along  with  this  went  the  Carroccio  on  which  the  standard  of  the 
commonwealth  was  placed.  It  was  a  four-wheeled,  oblong  car, 
painted  red,  and  drawn  by  two,  four,  or  six  bullocks  covered  with 
red  or  white.  The  ensign  hung  from  two  red  masts.  The  Carroccio 
was  devised  by  the  Milanese  Archbishop  Heribert,  and  was  soon 
adopted  by  the  cities  throughout  Italy. 

8.  castle-signals.  Fire-beacons  and  similar  signals.  See  Inf. 
viii,  4-6. 

14.  with  the  saints  at  church,  etc.  The  proverb  signifies:  adapt 
yourself  to  your  company.     "At  Rome,  do  as  do  the  Romans." 

18.  arching  of  their  back.  The  appearance  of  the  backs  of  the 
dolphins  above  water  was  popularly  supposed  to  presage  a  storm. 
The  creature  arches  its  back  in  order  to  leap  forward  through  the 
water,  as  may  be  seen  in  porpoises. 

35.  I — ^knew  the  name.  Explaining  his  familiar  use  of  the  name 
Graffiacane. 

50.  Theobald.  Thibaut,  or  Theobald  II,  who  became  King  of 
Navarre  in  1244.  He  is  quoted  by  Dante  in  De  Vulg.  El.  i,  9; 
ii,  5,  6.     His  fame  rests  on  his  amatory  poems. 

59.  while  I  am  hugging  him.  Not  "while  I  fork  him."  This  was 
what  the  fiend  was  aiming  to  prevent  for  the  present,  until  another 
should  tear  him  (1.  63).  Rather,  "Keep  off  as  long  as  I  am  holding 
him."  There  is  a  touch  of  grim  irony:  "while  I  hold  him  in  my  em- 
brace." 

66.  Italian.    By  Latino,  Dante  always  means  Italian. 

68.  a  neighbor.  Lived  in  the  neighboring  country  of  Sardinia. 
See  1.  82. 

75.  their  decurion.  In  the  Roman  army  a  decurion  was  the  com- 
mander of  a  troop  of  ten  cavalrymen.  At  a  later  period  the  name 
was  given  to  the  Senators  of  the  colonies  and  free-towns.  The 
dignified  title  is  ironically  applied  to  the  leader  of  the  troop  of 
devils. 

78.  gazing  at  his  wound.  He  stood  looking  at  his  wound  like 
one  dazed. 

81.  Friar  Gohiita.  A  Sardinian  friar,  appointed  chancellor  or 
deputy  of  Nino  Visconti,  the  judge  of  Gallura.     Gallura  was  one  of 


264  THE  DIVINE  COMEDY 

the  four  judicial  districts  of  Sardinia,  which,  in  Dante's  time, 
belonged  to  the  Pisans.  He  abused  his  position  by  traffic  in  public 
offices. 

83.  had  in  hand  his  master's  enemies.  Having  charge  of  certain 
imprisoned  enemies  of  his  master,  he  took  bribes  from  them  and 
allowed  them  to  escape,  so  that  they  conunended  him  (1.  84-85). 

89.  Michel  Zanche.  Governor  of  Logodoro  in  Sardinia.  He  is 
mentioned  again  in  Inf.  xxxiii,  149,  as  the  father-in-law  of  Branca 
d'Oria,  whom  he  murdered. 

95, 96.  to  my  itch  to  give  a  scratching.  A  coarse  proverbial  expres- 
sion. 

grand  commandant.  Another  dignified  title  ironically  used. 
Provost,  Rector,  President. 

112,  113.  I  am  too  cunning,  etc.  The  fiend  Cagnazzo  had  said: 
"Only  hear  the  cunning  knavery  (malizia)  which  he  has  designed, 
to  escape  us  by  plimging  into  the  lake."  Ciampolo  replies  with  a 
play  on  the  word  malizia,  which  may  mean  either  malice,  or  cunning. 
"  I  shall  be  too  cunning  (malizioso)  if  I  procure  for  my  companions 
greater  suffering  than  they  are  now  enduring." 

115.  held  in.  He  did  not  restrain  himseK,  since  he  was  so  eager 
to  see  the  other  wretches  allured  from  the  lake. 

116,  117.  I  will  not — follow  thee.  The  demon  means:  "You  can- 
not escape,  because  you  have  not  wings.  Therefore  if  you  drop, 
I  will  not  follow  you  on  foot,  but  wiU  rise  on  the  wing  over  the  pitch, 
and  so  I  shall  be  sure  to  catch  you." 

118.  leave  we  the  ridge.  The  fiends  propose  to  put  themselves 
where  they  wiU  not  be  seen  by  those  who  answer  Ciampolo's  sum- 
mons. They  were  then  standing  on  the  embankment  between  the 
fifth  and  sixth  trenches,  where  the  bridge  over  the  fifth  trench  came 
to  an  end.  The  top  of  the  embankment  falls  off  on  either  side.  The 
fiends  propose  to  remove  from  the  top  and  to  go  down  a  little  way 
on  the  side  toward  the  sixth  trench,  where  they  will  be  entirely 
concealed  from  the  people  in  the  pitch. 

122.  turned  toward  the  other  side.  Each  of  the  demons  looked 
away  from  the  edge  of  the  fifth  trench,  and  turned  to  go  down  the 
slope  of  the  ridge  toward  the  sixth  trench.  Ciampolo  took  this 
opportunity  to  jump. 

128.  chiefly  he.  Alichino,  who  had  made  the  proposition  to  go 
down  from  the  ridge. 

132.  upward.     Going  toward  the  crest  of  the  embankment. 

138.  the  other.     Ciampolo. 

146.  the  heat  imclutched.  The  heat  of  the  boiling  pitch  made 
them  relax  their  clutch.     Lit.,  "the  heat  was  a  sudden  separator." 

149.  doleful.     There  is  a  comical  pathos  in  the  word. 

154.  the  crusting.  The  meaning  is  somewhat  uncertain.  It  is 
usually  explained  as  the  surface  of  the  pitch.  According  to  others 
it  is  the  skin  of  the  demons,  which  the  heat  penetrated.  The  most 
probable  explanation  is  the  crust  which  the  pitch  formed  over  their 
bodies. 


NOTES  265 


CANTO  XXIII 

3.  were  going  on.  They  were  going  to  the  left,  along  the  ridge 
of  the  embankment  between  the  fifth  and  sixth  trenches. 

Minor  Friars.  Franciscans,  also  called  Cordeliers.  See  note  on 
Inf.  xvi,  106,  and  comp.  Inf.  xxvii,  70,  96-97  ;  Par.  xi,  86-87,  94; 
xii,  115, 131-132.  The  name  "minor,"  intended  as  a  token  of  humil- 
ity, was  adopted  in  1210.  Up  to  this  time  the  order  had,  properly, 
no  name,  but  was  styled  "Penitents  of  the  City  of  Assisi." 

5.  Aesop's  fable.  The  fable  is  that  a  mouse  and  a  frog  met  at  a 
river  which  they  had  to  cross.  As  the  mouse  could  not  swim,  the 
frog  proposed  to  convey  her  across  by  tying  her  to  his  leg.  During 
their  passage  the  frog  tried  to  drown  the  mouse;  but  just  then  a 
kite  swooped  down  and  carried  off  the  frog,  setting  the  mouse  at 
liberty.  Dante's  appUcation  of  the  fable  is  that  one  who  was 
conspiring  against  another  (Alichino  against  Ciampolo)  brought 
disaster  upon  himself.  Aesop,  who  lived  about  B.C.  600,  was  the 
first  author  who  created  an  independent  class  of  stories  about  ani- 
mals, so  that,  in  a  few  generations,  his  name  and  person  had  become 
typical  of  that  entire  class  of  literature,  and  the  story  of  his  own 
life  was  enveloped  in  a  tissue  of  tales  and  traditions  which,  in  the 
Middle  Ages,  were  woven  into  a  kind  of  romance.  It  is  doubtful 
whether  he  left  any  written  works.  This  fable  is  not  found  in  any 
collection  of  "Aesop's  Fables,"  all  of  which  were  made  at  least  three 
centuries  after  his  time.  All  that  have  come  down  to  us  are,  in 
part,  late  prose  renderings  of  the  version  of  Babrius,  made  a  little 
before  the  beginning  of  the  Christian  era.  Dante  may  have  seen 
this  fable  in  a  Life  of  Aesop  prefixed  to  a  collection  made  by  Plan- 
udes,  a  Greek  monk  of  the  fourteenth  century,  or  in  a  collection  of 
extracts.  Many  such  collections  were  current  in  the  Middle  Ages; 
and  Benvenuto  da  Imola,  who  lectured  on  the  Commedia  at  Bologna 
in  1375,  says  that  this  fable  was  contained  in  a  Latin  version  of 
extracts  from  Aesop. 

7.  for  "now"  resembles  not  "this  instant"  more.  Mo  and  issa 
both  mean  "now."  The  amount  of  this  somewhat  prolix  passage  is 
that  Dante,  in  pondering  Aesop's  fable,  felt  that  the  case  of  the  frog 
and  that  of  Alichino  were  so  similar,  that  the  worst  results  to  Vergil 
and  himself  might  be  expected  from  the  baffled  demons. 

27.  were  I  of  leaded  glass.  If  I  were  a  mirror,  I  should  not  more 
readily  receive  the  impression  of  your  bodily  person  than  I  catch 
your  thought  which  tallies  with  my  own. 

32.  of  both  one  sole  resolve.  Out  of  our  two  corresponding 
thoughts  I  formed  one  purpose — to  flee. 

33.  on  our  right.  As  they  were  moving  toward  the  left,  the 
descent  into  the  sixth  Bolgia  would  be  on  their  right. 

46.  he  gave  him  to  the  sloping  rock.  Vergfl,  clasping  Dante  in 
his  arms,  slid  down  the  slope  on  his  back. 

48,  49.  wheel  of  a  land-mill.  An  overshot  wheel,  to  which  the 
water  is  brought  by  a  sloping  sluice.  In  a  river-mill  the  water 
flows  underneath. 


266  THE  DIVINE  CXDMEDY 


49.  when  it  draws  near  the  paddles.  An  instance  of  Dante's 
minute  observation.  How  many  would  have  noted  the  quickened 
motion  of  the  water  as  it  approaches  the  paddles? 

63.  Cologne.  It  was  said  that  the  hoods  of  the  monks  of  Cologne 
were  peculiarly  ungainly,  being  so  fashioned  by  the  Pope's  order  as 
a  punishment  for  their  petitioning  for  leave  to  wear  scarlet  cowls. 

65.  so  gilded.  The  significance  of  the  punishment  is  evident. 
It  is  also  claimed  that  the  gilded  cloaks  were  suggested  to  Dante  by 
the  false  etymology  of  the  word  "hypocrite,"  which  was  current  in 
his  time;  viz.,  hyper,  "above,"  and  crisis  for  the  Greek  chrusos, 
"gold." 

67.  Frederick.  Frederick  11,  who  is  said  to  have  devised  this 
punishment  for  traitors.  The  tradition  is  that  he  had  them  wrapped 
in  lead,  and  thrown  into  a  heated  caldron.  The  same  punishment 
is  said  to  have  been  inflicted  in  Scotland,  and  LongfeUow  quotes 
from  the  ballad  of  "Lord  Soulis": 

"  They  rolled  him  up  in  a  sheet  of  lead, 
A  sheet  of  lead  for  a  funeral  pall, 
And  plunged  him  into  the  caldron  red, 

And  melted  him — lead,  and  bones,  and  all." 

72,  73.  our  company  was  new.  The  poets  moved  so  much  faster 
than  the  train  of  hypocrites,  that  at  every  step  they  were  abreast 
of  new  persons. 

91.  this  one  seems  living.    Ck)mp.  Purg.  ii,  69. 

103.  glitters.  Wliat  is  the  natiu^  of  the  punishment  which 
appears  in  your  sparkling  cloak? 

105,  106.  cause  the  scales  to  creak.  The  cloaks  cause  their  wear- 
ers to  show  these  signs  of  distress,  as  the  weights  make  the  scales 
creak. 

Jolly  Friars.  The  name  given  to  the  knights  of  a  military  and 
conventual  order  called  "the  Order  of  the  Soldiery  of  the  Blessed 
Mar}%"  founded  in  1261  by  certain  Bolognese.  Their  object  was  to 
reconcile  hostUe  factions  and  family  feuds  in  the  different  cities  of 
Italy,  and  to  protect  the  weak  against  their  oppressors.  They 
received  the  name  of  "Jolly  Friars"  because  of  the  laxity  of  their 
rules,  which  allowed  them  to  marry  and  to  five  in  their  own  homes. 
Villani  says:  "They  wore  a  white  gown  and  a  grey  mantle,  and 
for  arms  a  white  field  with  a  red  cross  and  two  stars.  .  .  .  But 
it  (the  order)  endured  but  a  short  while,  for  the  fact  followed  the 
name,  to  wit,  they  gave  themselves  more  to  joviality  than  to  aught 
else."     Cron.  vii,'l3. 

107,  108.  Catalano,  Loderingo.  They  were  the  founders  of  the 
order.  Catalano  was  a  Guelf,  Loderingo  a  Ghibelline.  They 
shared  the  office  of  Podesta  in  Bologna  in  1265  and  1267,  and  in 
1266  in  Florence.  They  were  accused  of  taking  bribes  from  the 
Guelfs,  and  persecuting  the  Ghibellines.  Villani  says:  "Albeit  in 
heart  they  were  of  diverse  parties,  under  cover  of  false  hypocrisy, 
they  were  at  one,  more  for  their  own  gain  than  for  the  pubUc  weal." 
Cron.  vii,  13. 

112.  the  Gardingo.     The  name  of  a  part  of  Florence  in  the  neigh- 


i 


NOTES  267 


borhood  of  the  Mazzo  Vecchio,  where  the  palace  of  the  Uberti,  the 
heads  of  the  Ghibelline  party  in  Florence,  stood.  This  palace  was 
wrecked  during  a  rising  of  the  Ghibellines  while  Catalan©  and  Loder- 
ingo  were  Podestas. 

119.  that  transfixed  one.  Caiaphas.  See  John  xi,  50.  The 
High  Priest  was  supposed  to  give  inspired  decisions  on  doubtful 
questions.  This  Caiaphas  professed  to  do  in  the  case  of  Jesus;  but 
he  spoke  from  political  motives,  not  proclaiming  a  divine  oracle, 
but  expressing  his  own  conviction  as  an  unscrupulous  Sadducee,  on 
the  basis  of  a  rule  of  statesmanship,  that  the  one  must  be  sacrificed 
for  the  many. 

126.  his  father-in-law.     Annas.     See  John  xviii,  13,  24. 

129,  130.  Vergil— marvelling.  Vergil  was  of  course  ignorant  of 
the  Gospel  history.  There  is  no  little  force  in  the  suggestion  that  the 
words  in  11. 121-122  reminded  Vergil  of  his  own  words  in  Aen.  v,  815: 

"  One  head  shall  pay  for  all  the  rest.'* 

Comp.  John  xi,  49-52,  where  Caiaphas  is  declared  to  have  uttered 
unconsciously  a  truthful  prophecy.  The  significance  of  his  being 
stretched  upon  a  cross  is  apparent. 

136, 137.  making-come.  In  virtue  of  his  divine  commission  to 
pass  through  Hell,  Vergil  could  command,  if  necessary,  the  aid  of 
evil  spirits. 

140.  the  great  circle.     The  wall  encircling  the  whole  of  Malebolge. 

144,  145.  upon  the  side  it  slopes.  He  means  that  the  fragments 
of  the  broken  bridge  form  a  slope  at  the  side,  and  then  heap  them- 
selves up  at  the  bottom. 

149.  Bologna.  The  speaker's  native  place,  and  the  seat  of  an 
important  theological  school. 

CANTO  XXIV 

1.  In  that  part  of  the  youthful  year,  etc.  The  following  long  and 
elaborate  simile  is  intended  simply  to  point  the  fact  that  Dante, 
having  been  alarmed  by  the  angry  expression  of  Vergil's  face,  is 
reassured  by  the  kindly  and  affectionate  look  which  Vergil  bestows 
on  him.  The  part  of  the  year  is  the  latter  part  of  January  and  the 
beginning  of  February.  The  sun,  having  begun  to  turn  northward 
after  the  winter  solstice  at  the  first  point  of  Capricorn,  is  now  in 
Aquarius.  Correspondingly,  the  night  (used  by  Dante  for  the 
point  of  the  heavens  opposite  to  the  sun)  has  turned  southward 
from  the  first  point  of  Cancer. 

2.  invigorates  his  locks.     Warms  his  rays. 

4.  Toward  the  south.  The  nights  shorten  and  retreat  southward 
as  the  days  lengthen  and  the  sun  moves  northward. 

copies  the  image.  The  hoar-frost  has  the  appearance  of  its  "white 
sister,"  the  snow. 

6,  7.  not  for  long  the  temper  of  her  pen  endures.  The  hard, 
frosty  appearance  does  not  last  long.  The  hoar-frost  quickly  melts 
with  the  sun. 


\ 


268  THE  DIVINE  COMED 

10.  goes  whining.  We  must  remember  that  Dante  is  not  pictur- 
ing a  stolid  northern  peasant,  but  an  impressionable  Italian,  who 
gives  free  and  violent  expression  to  his  emotions,  and  changes 
quickly  from  despair  to  exhilaration. 

18.  the  plaster.  One  of  Dante's  realistic  metaphors.  His  relief 
at  Vergil's  cheerful  look  is  the  wholesome  effect  of  a  plaster  appUed 
to  a  wound. 

20.  at  the  moiintain's  foot.     See  Inf.  i,  14. 

22.  had  fixed  upon  some  plan.  Vergil  first  inspects  the  ruin  of  the 
shattered  bridge,  in  order  to  make  sure  that  he  has  not  been  deceived 
by  Catalano  as  he  had  been  by  Malacoda.  Then  he  considers  the 
best  way  of  climbing  the  side  of  the  trench  on  the  broken  stones. 
Finally  he  takes  hold  of  Dante  to  push  and  lift  him  upward. 

25,  26.  seems  to  be  providing  in  advance.  Vergil  is  compared  to 
an  experienced  mountaineer,  who,  whUe  securing  a  footing  at  any 

Eoint,  keeps  looking  out  for  a  point  above,  where  he  can  get  a  foot- 
old. 

31.  for  one  who  wore  a  cloak.    Like  the  hypocrites. 

32.  hardly  could  we  mount.  Ruskin  ("Modem  Painters,"  III,  ch. 
15)  insists  that  "Dante,  by  many  expressions  throughout  the  poem, 
shows  himself  to  have  been  a  notably  bad  climber;  and  being  fond 
of  sitting  in  the  sun,  looking  at  his  fair  Baptistery,  or  walking  in  a 
dignified  manner  on  a  flat  pavement  iu  a  long  robe,  it  puts  him  seri- 
ously out  of  his  way  when  he  has  to  take  to  his  hands  and  knees,  or 
look  to  his  feet;  so  that  the  first  strong  impression  made  upon  him 
by  any  Alpine  scene  whatever,  is,  clearly,  that  it  is  bad  walking. 
When  he  is  in  a  fright  and  hurry,  and  has  a  verv  steep  place  to  go 
down,  Vergil  has  to  carry  him  altogether,  and  is  obliged  to  encourage 
him  again  and  again  when  they  have  a  steep  slope  to  go  up." 

This  statement  is  at  once  superficial  and  untruthful.  In  the  first 
place,  it  is  quite  unwarrantable,  and  it  is  a  mere  play  of  fancy  to 
attempt  to  draw  any  such  general  and  sweeping  conclusion  from 
Dante's  occasional  allusions.  In  the  second  place  the  allusions 
themselves  rather  contradict  than  warrant  the  conclusion.  Dante 
may  have  been  fond  of  sitting  in  the  sun,  but  Dante  was  an  exten- 
sive traveller  in  Italy  and  had  a  large  experience  in  mountain-travel. 
An  allusion  to  the  diflaculties  of  an  ascent  or  descent  does  not  show 
that  he  was  a  poor  chmber  any  more  than  Mr.  Whymper's  graphic 
picture  of  the  tremendous  difficulties  of  the  Matterhom,  or  Mr. 
Freshfield's  blood-curdling  account  of  his  passage  along  the  face  of 
the  Pelmo,  show  that  these  gentlemen  were  poor  climbers  or  disliked 
climbing.  That  Dante  now  and  then  accentuates  the  steepness  or 
roughness  of  a  decli\'ity  is  to  be  expected  from  one  who  was  con- 
fronting savage  hell-heights,  not  made  to  be  scaled  by  mortal  feet. 
If  Dante  requires  the  help  of  VergU,  the  best  modem  Alpine  tourist 
cannot  disp>ense  with  the  rope  and  the  guide.  If  Dante  was  a  poor 
climber,  this  passage  shows  that  he  knew  how  climbing  ought  to  be 
done.  That  the  first  strong  impression  made  upon  him  by  any 
Alpine  scene  is  that  it  is  bail  walking,  is  nonsense,  and  is  contra- 
dicted by  more  than  one  passage  of  the  poem.  On  this  point  Ruskin 
is  vigorously  handled  by  Douglas  W.  Freshfield  in  an  article  on  "The 


NOTES  269 

Mountains  of  Dante,"  in  the  Alpine  Journal,  February,  1882, 
Vol.  X.* 

39.  all  Malebolge  downward  slopes.  The  successive  trenches  lie 
one  below  the  other.  The  whole  area  of  Malebolge  slopes  toward 
the  central  pit,  like  the  area  of  an  amphitheatre  toward  the  orches- 
tra. The  bottom  of  each  pit,  however,  is  horizontal,  and  lies  at  a 
right  angle  to  the  wall  which  encompasses  the  whole  series  of  pits. 
Of  course,  in  each  trench,  the  side  which  is  toward  the  central  pit  is 
lower  than  the  side  toward  the  encircling  wall. 

43.  whence  the  last  stone  splits  off.  They  had  mounted  to  the 
point  where  the  last  stone  of  the  broken  bridge  had  split  off,  and 
were  therefore  at  the  top  of  the  embankment  between  the  seventh 
and  eighth  trenches.  Here  Dante,  exhausted,  sits  down  for  a  brief 
rest,  after  which  they  move  on  to  the  left  to  the  next  bridge,  which 
is  unbroken,  and  which  spans  the  seventh  trench. 

56.  a  longer  stairway.  The  ascent  to  Purgatory.  It  is  not 
enough  to  have  parted  with  the  souls  in  Hell. 

63.  the  crag.  The  unbroken  bridge  which  they  had  now  reached, 
leading  across  the  seventh  trench. 

69.  the  next  trench.  The  seventh  trench,  into  which  they  are  now 
looking  down. 

75.  to  the  next  belt.  Dante's  request  to  Vergil  is  to  pass  over  the 
bridge  to  where  it  abuts  on  the  embankment  which  divides  the 
seventh  from  the  eighth  trench  (1.  83),  and  then  to  descend  with 
him  to  a  point  where  he  can  see  better. 

88.  Libya.  The  Roman  Province  of  North  Africa,  lying  west  of 
Egypt,  and  used  here  for  Africa  in  general. 

89,  chelydri,  etc.  Dante  takes  this  list  of  serpents  from  Lucan, 
Phars.  ix,  700  ff.,  although  Lucan  names  many  others. 

91.  Ethiopia.     The  district  of  Africa  south  of  Egypt. 

92.  on  the  Red  Sea.  The  eastern  coast  of  Egypt.  In  Par.  vi,  79, 
it  is  called  "the  red  shore." 

96.  hiding-hole  or  heliotrope.  A  hole  in  which  to  hide  them- 
selves, or  the  stone  called  heliotrope,  which  was  supposed  to  render 
the  writer  invisible. 

109.  Phoenix,  A  fabulous  Arabian  bird,  which,  on  attaining  its 
five-hundredth  year,  burned  itself  to  ashes  on  a  pyre  of  incense,  and 
rose  from  the  ashes  in  the  shape  of  a  small  worm,  which,  on  the  third 
day,  developed  into  a  full-grown  bird.  Dante  says  that  the  story  is 
told  **by  many  sages."  He  himself  drew  it  from  Ovid,  Metam.  xv, 
392-400,  although  he  does  not  reproduce  all  of  Ovid's  details.  The 
story  originated  with  Herodotus,  II,  73,  having  been  told  to  him  by 
the  Egyptian  priests,  who,  he  implies,  were  lying.  Pliny  says  that 
it  was  asserted  that  the  bird  had  been  actually  exhibited  in  Rome 
in  A.D.  47.  Tacitus  declares  that  no  doubt  was  entertained  of  its 
existence.  Tertullian  interprets  Ps.  xcii,  12,  "The  righteous  shall 
flourish  like  the  phoenix;"  phoenix  being  the  Greek  word  for  palm- 

*  My  thanks  are  due  to  Dr.  James  Canfield,  the  accomplished  Librarian  of 
Columbia  University,  N.  Y.,  for  procuring  for  me  this  volume  of  the  Alpine 
Journal  from  the  Boston  Public  Library,  No  library  in  New  York  contains  a 
set  of  this  periodical. 


270  THE  DIVINE  COMEDY 


tcee.  Clement  of  Rome,  in  his  Epistle  to  the  Corinthians,  cites  the 
story  as  a  fact.  Before  the  Christian  era  the  tale  had  been  adopted 
by  Jewish  writers.  In  a  poem  on  the  Exodus,  written  by  Ezekiel, 
an  Alexandrian  Jew,  in  the  second  or  third  century,  the  phoenix  is 
represented  as  appearing  to  the  host  of  the  Israelites.  Those  who 
are  curious  about  the  matter  can  consult  Bishop  Lightfoot's  "St. 
Clement  of  Rome,"  Vol.  II,  p.  84. 

113.  amomuni.  Not  "tears  of  incense  and  o/ amomum."  Amom- 
um  was  an  aromatic  shrub,  bearing  a  fruit  like  a  grape,  from  which 
a  fragrant  ointment  was  prepared.  The  best  was  said  to  be  pro- 
duced in  Armenia.  The  Roman  poets  used  the  word  for  any  spec- 
ially delicious  odor.     Vergil  mentions  it  in  Eel.  iii,  89;  iv,  25. 

115.  by  demon-power.    See  Luke  ix,  42. 

125.  I  fell.  Lit.,  "rained."  Comp.  Inf.  viii,  85;  xxx,  98.  An 
expressive  term  for  the  falling  of  a  soul  down  to  Hell. 

127.  mule.     Meaning  "bastard." 

128.  Vanni  Fucci.  A  natural  son  of  one  of  the  Lazzari,  a  noble 
family  of  Pistoia.  In  1293  he  broke  into  and  plundered  the  treasury^ 
of  San  Jacopo  in  the  Church  of  San  Zeno  at  Pistoia.  A  namesake 
of  his  with  whom  he  had  deposited  the  booty  was  hanged  for  the 
crime,  Vanni  having  revealed  his  name  in  order  to  save  the  life  of 
another  man  who  was  about  to  be  executed  for  the  theft. 

138.  afficts  me  more.  His  pain  arose  from  his  mortification  at 
being  seen  by  a  political  opponent,  and  from  the  satisfaction  which 
his  punishment  would  cause  him. 

142.  the  Sacristy  of  the  Fair  Ornaments.  This  is  the  name  of  the 
Sanctuary.  The  rendering  is  not:  "I  robbed  the  sanctuar>^  of  its 
fair  ornaments." 

148.  Pistoia  first  of  Neri  strips  herself.  This  alludes  to  the  trans- 
actions which  led  up  to  Dante's  exile.  The  Whites,  who  were  all- 
g5werful  in  Florence,  procured,  in  1301,  the  expulsion  of  the 
lacks  from  Pistoia.  "Pistoia  first  is  thinned  of  Neri."  On  April 
13th,  1301,  Dante  voted  in  the  Council  of  the  Consuls  of  the  Arts. 
On  June  19th  he  opposed,  in  the  Council  of  the  Hundred,  the  grant 
of  a  subsidy  to  the  King  of  Naples  for  the  war  in  Sicily  and  the 
service  of  a  himdred  soldiers  for  Pope  Boniface  VIII.  Charles  of 
Valois  was  already  on  his  way  to  Florence,  and  Dante  was  specially 
marked  out  at  Rome  for  destruction.  Charles  entered  Florence 
with  twelve  hundred  horsemen  on  November  1st.  Dante  was  soon 
after  indicted,  and  accused  of  barratry,  fraud,  and  corrupt  prac- 
tices, unlawful  gains  and  extortions  and  the  like;  of  having  resisted 
the  Pope  and  Charles,  and  of  having  opposed  the  pacific  state  of 
Florence  and  of  the  Guelf  party;  of  having  caused  the  expulsion  of 
the  Blacks  from  Pistoia,  and  severed  that  city  from  Florence  and 
the  Church.  The  white  Guelfs  were  driven  from  Florence  by 
Charles,  and  thus  Florence  "changed  her  families  and  her  fashions," 
that  is,  her  government,  which  now  passed  into  the  hands  of  the 
Blacks. 

150.  Mars  draws — a  mist.  The  vapor  or  mist  which  Mars  draws 
from  Val  di  Magra  is  Moroello  Malaspina,  a  Guelf,  and  Captain  of 
the  Florentine  Blacks,  when,  in  company  with  the  forces  of  Lucca, 


/ 


NOTES  271 

they  attacked  Pistoia  in  1302,  Val  di  Magra  is  the  valley  of  the 
river  Macra  which  flows  through  Lunigiana  in  the  northwestern 
comer  of  Tuscany;  a  territory  belonging,  in  Dante's  time,  to  the 
Malaspina  family. 

153.  Piceno's  plain.  It  seems  quite  impossible  to  identify  this 
point.  Dante  places  it  somewhere  in  the  vicinity  of  Pistoia;  but 
there  is  no  trace  of  any  Campo  Piceno  in  that  neighborhood.  The 
Picenian  Field  ("  Ager  Picenus  ")  referred  to  by  SaUust  and  Cicero  in 
connection  with  the  movements  against  Catiline,  was  on  the  Adri- 
atic coast,  a  good  way  from  Pistoia.  Villani,  in  relating  the  story 
of  Catiline's  rout,  says  that  Catiline  came  from  Fiesole  to  the  place 
where  to-day  is  the  city  of  Pistoia  in  the  place  called  Campo  Piceno, 
that  was  below  where  to-day  is  the  fortress  of  Piteccio,  and  that  here 
he  was  forced  to  give  battle  (Cron.  i,  32).  Villani,  on  the  other 
hand,  does  not  mention  Campo  Piceno  as  the  scene  of  a  battle  between 
the  Whites  and  the  Blacks.  It  is  possible  that  Villani  has  misunder- 
stood Sallust.  It  may  be  that  Dante  means  to  denote  by  Campo 
Piceno  simply  the  territory  of  the  city  of  Pistoia  itself,  which,  in 
the  absence  of  certainty,  seems  on  the  whole  most  probable.  One 
of  the  best  discussions  of  the  subject  is  by  Bassermann,  "Dante's 
Spuren  in  Italien." 

154.  it  shall  disperse  the  cloud.  The  metaphor  is  very  bold.  The 
mist  shall  rend  the  cloud.  Out  of  the  cloud  of  war  shall  break 
Malaspina  in  his  charge  upon  his  foes. 

The  whole  prophecy,  succinctly  stated,  is  as  follows:  The  Blacks 
shall  be  expelled  from  Pistoia.  The  Whites  shall  be  driven  from 
Florence,  and  a  change  shall  come  over  its  people  and  government. 
Malaspina  with  the  Florentine  Blacks  shall  come  from  his  territory 
on  the  Macra  and  attack  Pistoia.  There  shall  be  a  battle  on  the 
Picenian  plain,  and  Malaspina' s  headlong  charge  shall  be  fatal  to 
the  Whites  of  Pistoia. 

156.  thou  mayst  have  cause  to  grieve.  Because  Dante  belonged 
to  the  Whites. 


CANTO  XXV 

2.  the  figs.  The  gesture  consists  in  thrusting  the  thumb  between 
the  first  and  middle  fingers.  Ruskin  says  that  ui  old  English  illumin- 
ated Psalters,  the  vignette  of  the  fool  saying  in  his  heart  "there 
is  no  God,"  nearly  always  represents  him  in  this  action. 

3,  4.  friends — the  serpents  were.  Because  they  inflicted  such 
fearful  punishment  upon  the  blasphemer. 

10.  to  turn  thyself  to  ashes,  etc.  Since  you  produce  such  a 
wretch  as  Vanni  Fucci,  thus  surpassing  the  evil  seed  from  which 
you  sprang — the  company  of  Catiline  who  headed  a  conspiracy 
against  Rome,  for  which  he  was  banished.  It  was  believed  that 
Pistoia  was  founded  by  the  remnant  of  Catiline's  force.  Villani 
says  that  the  place  received  its  name  from  its  unhealthful  character: 
"by  reason  of  the  great  mortaUty  and  pestilence  which  was  near 
that  place."     Like  Brunetto  Latini  who  says,  "Pestoire,"  he  evj- 


/; 


272  THE  DIVINE  COMEDY 

dently  connects  the  name  with  pestis,  "plague."  As  a  fact  its  origin 
is  involved  in  darkness. 

15,  16.  from  the  walls  at  Thebes  fell  down.  Capaneus.  See  Inf. 
xiv,  66. 

17.  a  Centaur.     See  note  on  Inf.  xii,  58. 

20.  Maremma.     See  note  on  Inf.  xiii,  9. 

26.  Cacus.  Dante  errs  in  calling  him  a  Centaur,  and  repeats  the 
mistake  in  1.,  28.     The  description  is  suggested  by  Aen.  viii,  193  ff. 

28.  his  brethren  walk.     See  Inf.  xii,  58. 

29.  the  theft.  He  stole  from  Hercules,  while  asleep,  some  of  the 
cattle  which  the  latter  had  taken  from  Geryon  (see  note  on  Inf. 
xvii,  i);  and  to  prevent  their  being  tracked,  dragged  them  into  his 
cave  by  their  tails.  Their  bellowing  revealed  their  place  of  conceal- 
ment, and  Hercules  attacked  Cacus  and  killed  him. 

32.  beneath  the  club.    According  to  Vergil,  Hercules  strangled  him. 

36.  under  us.  The  poets  were  on  the  side  of  the  embank- 
ment, below  the  bridge.     See  Inf.  xxiv,  76-77. 

37.  three  spirits.  Three  Florentine  thieves:  Agnello  Brun- 
elleschi,  Buoso  degli  Abati,  and  P*uccio  Sciancato. 

44.  Cianfa.  One  of  the  Donati  family,  and  a  housebreaker. 
From  hearing  his  name  Dante  recognized  the  group  as  Florentines. 

52.  a  serpent,  etc.  Nothing  more  horrible  was  ever  conceived 
than  the  successive  stages  of  the  following  transformation;  and  no 
conception  was  ever  worked  out  with  more  masterly  skill. 

59.  ivy  knit.  No  better  simile  could  be  de^'ised  to  portray  the 
closeness  with  which  the  serpent's  body  attached  itself  to  the  man. 
Comp.  Ovid,  Metam.  iv,  365. 

66.  over  the  paper  creeps.  Another  simple,  but  wonderfully 
graphic  simile,  to  express  the  blending  of  colors  as  the  man  and  the 
reptile  melted  together,  each  losing  his  own  native  color,  and  taking 
on  an  intermediate  one. 

73.  four  strips.  Strips  of  flesh.  The  fore-feet  of  the  serpent  and 
the  arms  of  Agnello  shaj>ed  themselves  into  two  arms. 

87.  in  one  of  them.  Buoso  degli  Abati.  Nothing  is  known  of 
him.  See  note  on  Buoso  Donati,  Inf.  xxx,  43.  This  is  the  third 
mode  of  punislunent  by  the  serpents.  Vanni  Fucci  is  burned  to 
ashes  by  a  serpent's  bite,  and  is  then  restored  to  his  proper  shape 
(Inf.  xxiv,  99-102).  Agnello's  form  is  blended  with  that  of  a  ser- 
pent (11.,  52-78).  In  the  third  case,  that  of  Buoso,  the  man  and  the 
serpent  exchange  forms. 

88.  is  drawn  our  nourishment.    The  navel. 

98.  Sabellus  and  Nasidius.  Two  Roman  soldiers  belonging  to 
Cato's  army  in  Africa  (see  note  on  Inf.  xiv,  14)  who  were  stung, 
according  to  Lucan,  by  venomous  serpents.  Sabellus's  body  became 
a  mass  of  corruption.  The  bodv  of  Nasidius  swelled  tUl  his  corslet 
burst  and  he  died.     Phars.  Lx,  763-797. 

100.  Cadmus.  The  founder  of  Thebes.  He  married  Harmonia, 
the  daughter  of  Mars  and  Venus.  For  slaying  a  dragon  sacred  to 
Mars,  he  was  changed  into  a  serpent,  and  Harmonia,  by  her  own 
request,  shared  his  fate.  Dante  here  refers  to  the  story  as  related 
by  Ovid,  Metam.  iv,  575  ff.,  and  draws  from  it  some  of  his  details. 


^OTES  273 

101.  Arethusa.  A  nymph  of  the  fountain  of  Arethusa  in  the 
island  of  Ortygia  near  Syracuse.  While  bathing  she  was  seen  and 
pursued  by  the  river-god  Alpheus.  Artemis  heard  her  prayer  and 
changed  her  into  a  fountain;  but  Alpheus  continued  to  pursue  her 
under  the  sea,  and  attempted  to  mingle  his  stream  with  the  waters 
of  the  fountain.  The  story  is  told  by  Ovid,  Metam.  v,  586  ff.,  and 
is  the  subject  of  Shelley's  familiar  and  beautiful  poem,  "Arethusa." 

I  grudge  it  not.  Dante  claims  that  he  relates  something  more 
wonderful  than  Ovid,  because,  in  the  transformations  described  by 
Ovid,  the  spirit  of  the  Uving  man  assumes  the  substance  of  an  animal, 
a  fountain,  etc.  In  Dante,  on  the  other  hand,  two  natures  are 
exchanged — a  man's  with  a  serpent's,  and  vice  versa.  The  word 
"form"  as  used  by  Dante  does  not  mean  the  outward  contour  and 
appearance  of  bodies,  but  the  essential  quality — that  which  makes 
anything  what  it  is.  The  materia,  "matter"  is  the  body  with 
which  this  is  invested. 

108.  the  snake  split  its  tail.  The  serpent  taking  the  form  of  a 
man  cleft  his  tail  into  two  legs. 

110.  the  legs  and  thighs.  The  thighs,  and  with  them  the  legs, 
drew  together,  and  the  division  between  them  disappeared,  and  no 
mark  of  the  union  remained. 

113.  the  cleft  tail.  The  forked  tail  of  the  serpent  took  the  form 
of  the  legs  which  had  disappeared  in  the  man  (1.  112). 

114.  its  skin  grew  soft.  The  serpent's  skin  became  soft  like  a 
man's,  and  the  man's  became  hard  like  the  scaly  skin  of  the  serpent. 

116.  the  arms  draw  in.  In  the  man  the  arms  drew  up  into  the 
armpits,  and  did  not  entirely  disappear  (see  "shortened,"  1.  117), 
but  enough  remained  to  form  the  serpent's  fore-feet. 

117.  lengthen.     To  the  size  of  the  human  foot. 

118.  the  hind  feet.  The  hinder-feet  of  the  serpent  were  twisted 
together,  and  formed  the  membrum  virile. 

120.  had  two  of  them.  The  wretched  man  put  forth  two  feet 
like  the  serpent's. 

121.  with  new  color.  The  smoke  imparted  to  each  a  new  color: 
to  the  man  that  of  the  serpent,  and  to  the  serpent  that  of  the  man. 

123.  the  hair.  Causes  hair  to  grow  on  the  serpent's  body,  and 
removes  the  hair  from  the  body  of  the  man. 

124.  upraised  himself.  The  serpent  rises  and  stands  upright  like 
a  man;  the  man  falls  down  and  grovels  on  his  belly  like  a  serpent. 

125.  126.  not — their  eyes  withdrawing.  The  two  kept  looking 
fixedly  at  each  other  while  the  transformation  was  in  progress. 

127.  muzzle.  The  contemptuous  term  "snout"  or  "muzzle"  is 
applied  to  the  man  as  well  as  to  the  serpent. 

Lines  127-138  describe  the  exchange  of  faces.  The  one  that 
was  erect  (the  serpent  now  standing  on  human  feet)  drew  his  muzzle 
toward  the  temples — inward  and  upward — and  of  the  "excess  of 
matter"  which  thus  accumulated  about  the  temples  came  forth 
ears  from  the  "smooth"  or  "flat  cheeks,"  The  matter  which  was 
more  than  enough  to  form  the  ears,  and  which  therefore  "did  not 
run  backward,"  made  "of  that  surplus"  a  nose,  and  thickened  the 
lips  "so  much  as  was  fitting,"  that  is,  to  the  proper  dimensions  of 


274  THE  DIVINE  COMEDY 

the  human  Ups.  The  man,  now  lying  prone,  "shoots  forward  his 
muzzle"  into  the  semblance  of  the  serpent's,  and  "draws  back  his 
ears  into  his  head";  and  the  human  tongue,  formerly  of  one  piece, 
is  cloven,  while  the  forked  tongue  closes  up  in  the  former  serpent. 

141,  142.  hissing — spluttering.  It  is  fearful— this  first  trial  of 
its  new  faculties  by  the  newly-created  serpent-nature,  moving  off 
through  the  vaUey  on  its  beUy,  and  with  no  language  but  a  hiss, 
and  the  newly-made  man,  who  has  not  yet  acquired  the  power  of 
himian  speech,  sputtering  after  him. 

142,  143.  he  turned  his  new  shoulders.  The  serpent,  now  be- 
come a  man,  turned  his  new  shoulders  on  Buoso,  the  newly-made 
serpent. 

the  third.  Puccio  Sciancato,  who  had  undergone  no  change 
(11.  153-155). 

147.  ballast.  A  highly  contemptuous  phrase  denoting  the  occu- 
pants of  the  seventh  trench.  A  worthless  mass  of  creatures  like 
the  refuse  stone  or  gravel  which  is  useful  only  for  ballasting  vessels. 

155.  the  other  one.  This  is  Francesco  Guercio  de'  Cavalcanti, 
"the  Squinter."  He  is  the  "httle  fiery  serpent"  of  1.  84,  and 
has  just  exchanged  forms  with  Buoso.  He  was  murdered  by  the 
inhabitants  of  GavUle,  a  vUlage  in  the  upper  Valdamo.  Dante  says 
that  Ga\alle  mourns  for  himu  because,  in  revenge  for  his  murder, 
the  Cavalcanti  nearly  depopulated  the  village. 

CANTO   XXVI 

Dante's  apostrophe  to  Florence  in  the  first  twelve  lines  of  this 
canto  is  charged  with  bitter  irony  and  sorrow. 

4.  five.     Cianfa,  AgneUo,  Buoso,  Puccio,  Guercio. 

7,  8.  one  doth  dream  of  what  is  true.  Comp.  Purg,  ix,  13-18. 
It  was  a  conmion  ancient  behef  that  the  truthful  dreams  are  those 
of  the  morning.  Three  visions  of  his  o\mi  are  described  by  Dante  as 
occurring  in  the  early  dawn  of  each  of  the  three  mornings  passed  in 
Purgatory.  See  Purg.  Lx,  19  ff.;  xLx,  1-33;  xxvii,  95-109.  Comp. 
Ovid,  "Heroides,"  xLx,  195-196. 

9.  Prato.  A  town  about  ten  miles  northwest  of  Florence,  and 
usually  on  friendly  terms  with  that  city;  so  that  it  is  difficult  to 
understand  why  Dante  here  speaks  of  it  as  an  enemy  which  desires 
evil  to  Florence.  The  reference  is,  probably,  not  to  the  tovm,  but 
to  the  Cardinal  Niccolo  da  Prato,  whom  Pope  Benedict  XI  sent 
in  March,  1303;  to  Florence,  to  pacify  the  factions.  Having  failed 
in  this  effort,  Villani  relates  that,  on  the  fourth  of  June,  1304,  he 
suddenly  departed,  saying:  "Seeing  that  ye  desire  to  be  at  war  and 
under  a  curse,  and  do  not  desire  to  hear  or  to  obey  the  messenger  of 
the  Vicar  of  God,  or  to  have  rest  or  peace  among  yourselves,  abide 
with  the  curse  of  God  and  of  Holy  Church!"  Cron.  viii,  69.  To 
this  malediction  were  attributed  the  calamities  which  followed — 
the  burning  of  the  Ponte  alia  Carraja,  a  wooden  bridge  over  the 
Amo,  by  which  many  people  were  drowned ;  and  a  great  fire  which 


NOTES  275 

destroyed,  according  to  Villani,  "all  the  marrow  and  yolk  and  the 
most  precious  places  of  the  city.  And  the  number  of  the  palaces 
and  towers  and  houses  was  more  than  seventeen  hundred." 

15.  the  stairway.  The  stairs  formed  by  the  projections  of  the 
rock. 

19.  the  splinters  and  the  stones.  Dante,  in  11.  15-20,  uses  four 
different  words  for  "rocks."  Borni  (1.  15)  occurs  but  once  in  the 
poem,  and  means  "projecting  rocks"  which  served  as  stairs.  It 
seems  to  be  akin  to  the  French  home,  a  projecting  stone  placed  at 
the  comer  of  a  building  to  protect  the  wall  from  the  blows  of  passing 
vehicles.  In  11.  19,  20,  we  have  schegge,  rocchi,  scoglio.  Rocchio 
is  "a  round  piece  of  rock,  or  a  piece  of  wood  detached  from  a 
larger  mass"  (Inf.  xx,  25;  xxvi,  17).  Scoglio  is  used  uniformly  of 
"a  projection  of  rock,"  usually  of  the  crags  projecting  from  the  wall 
of  Malebolge  and  forming  bridges  across  the  trenches  (Inf.  xviii,  70, 
111;  xxvi,  20).  Once  of  a  sunken  rock  rising  from  the  bottom  of 
the  sea  (Inf.  xvi,  133).  Scheggio  is  "a  splinter,"  a  small  fragment, 
not  always  of  rock,  but  sometimes  of  wood  or  other  material  (Inf. 
xiii,  43;  xxi,  62;  xxiv,  28).  Once  it  is  used  as  synonymous  with 
scoglio  (Inf.  xxi,  129). 

23.  more  my  genius  curb.  The  general  sense  of  11.  23-28  is  as 
follows:  Dante  is  strongly  impressed  with  the  punishment  of  the 
Fraudulent  Counsellors  who  have  brought  it  upon  themselves  by 
their  misuse  of  superior  mental  endowments.  Therefore,  whenever 
he  recalls  the  horrors  of  this  trench  he  is  moved  to  put  a  restraint 
upon  his  own  genius,  lest  he  should  forfeit  his  superior  endowments 
by  abusing  them. 

27,  28.  To  mjrself  I  may  not  grudge  it.  Lit.  "grudge"  or  "envy 
myself." 

LI.  28-35  present  one  of  Dante's  long-drawn  and  involved  similes, 
which  contains  within  itself  a  number  of  little  incidental  pictures, 
the  whole  combined  in  a  way  which  makes  the  passage  very  com- 
plicated. The  main  simile  is,  that  he  saw  a  multitude  of  lights 
moving  in  the  trench  below,  as  a  peasant,  from  his  resting  place  on 
a  hillside  at  evening,  sees  countless  fireflies  in  the  valley. 

33.  keeps  least  concealed  his  face.  In  Summer,  when  the  sun 
is  longest  above  the  horizon. 

34.  when  to  the  gnat,  etc.  Late  in  the  evening,  when  the  flies  are 
gone,  and  their  place  is  taken  by  the  gnats. 

37,  38.  who  was  with  bears  avenged.  Elisha.  See  2  Kings  ii, 
23-24. 

41,  42.  as  to  see  aught  save,  etc.  The  point  of  the  comparison 
is  that  both  Dante  in  looking  at  the  flames,  and  the  spectators  of 
Elijah's  translation,  saw  only  the  flame  and  not  the  person  within  it. 

44,  45.  no  one  displays  its  theft.  The  flame  is  represented  as 
stealing  away  a  transgressor  and  hiding  him  within  itself. 

51.  is  swathed.  Each  one  is  wrapped  and  concealed  with  the 
flame  which  consumes  him.  This  punishment  of  the  abuse  of  the 
tongue  may  have  been  suggested  to  Dante  by  Jas.  iii,  6. 

57,  58.  Eteocles — ^with  his  brother.  Eteocles,  the  son  of  Oedipus, 
King  of  Thebes,  and  his  brother,  Polynices.   The  brothers  contended 


276  THE  DIVINE  COMEDY 

for  the  sovereignty  of  Thebes,  and  theu*  quarrel  inaugurated  the 
war  of  the  Seven  against  Thebes,  so  called  because  Adrastus,  King 
of  Argos,  who  had  espoused  the  cause  of  Polynices,  his  son-in-law, 
took  with  him  to  the  assault  of  Thebes  seven  celebrated  chiefs.' 
Eteocles  and  Polynices  slew  each  other  in  single  combat.  When 
the  two  bodies  were  burned  upon  the  funeral-pyre,  the  flame,  as  it 
mounted,  divided  into  two  in  token  of  their  bitter  hatred. 

This  is  a  Theban  legend,  recorded  by  Pausanias,  and  adopted  by 
^schylus  at  the  close  of  his  "Seven  against  Thebes."  The  "Antig- 
one" of  Sophocles  follows  another  version  of  the  story,  according 
to  which  burial  was  allowed  to  Eteocles,  but  refused  to  Polynices. 
The  incident  is  related  by  Statins,  Theb.  xii,  429  ff. 

60.  Diomede.  One  of  the  Greek  generals  who  fought  against  Troy, 
and  planned  with  Ulysses  the  stratagem  of  the  wooden  horse  by 
which  Troy  was  captured. 

61.  their  wrath.    Against  the  Trojans. 

64.  whence  issued,  etc.  In  the  person  of  Mneas,  the  founder  of 
the  Roman  state. 

66.  Deidamia.  Thetis,  the  mother  of  Achilles,  left  her  son,  dis- 
guised in  female  attire,  in  charge  of  Deidamia,  the  daughter  of 
Lycomedes,  King  of  Scyros,  in  order  to  prevent  his  accompanying 
the  expedition  to  Troy.  Ulysses,  who  discovered  the  disguise,  per- 
suaded Achilles  to  go;  and  Deidamia,  who  had  become  Achilles's 
paramour  and  had  borne  him  a  son,  died  of  grief. 

68.  the  Palladium.  The  image  of  Athene  which  was  presented 
in  the  citadel  of  Troy,  and  on  which  the  preservation  of  the  city 
was  supposed  to  depend.     Ulysses  and  Diomede  stole  it  away. 

81.  they  haply  would  be  scornful.  Why  Vergil  should  have  given 
this  reason  for  Dante's  keeping  silent,  it  is  not  easy  to  explain.  It 
is  said  by  some  that  these  Greeks  would  refuse  intercourse  with 
Dante  because  of  their  hatred  of  Troy,  whence  came  ^neas,  the 
foiuider  of  Rome,  which  Dante  loved.  But  for  the  same  reason 
they  would  have  refused  to  listen  to  Vergil.  Others  hold  that 
Vergil  understood  their  own  language,  of  which  Dante  was  ignorant. 
But  Vergil  did  not  address  them  in  their  own  tongue.  See  Inf. 
xxvii,  20.  Another  suggests  that,  according  to  the  rule  of  the 
Inferno,  Dante  speaks  only  with  the  modem  characters,  and  Vergil 
with  the  ancients.  But  this  would  fail  to  explain  the  strong  expres- 
sion, "they  would  be  disdainful."  The  most  satisfactory  explana- 
tion is  the  simplest.  These  were  great  Greek  heroes  who  would 
disdain  to  converse  with  a  stranger  of  the  modem  world;  but  Vergil, 
an  ancient  poet,  who  had  commemorated  them  in  immortal  verse, 
might  expect  to  be  listened  to  respectfully.     See  11.  85-88. 

88.  my  lofty  verses.    The  ^Eneid. 

89.  the  one  of  you.    Ulysses. 

90.  the  greater  horn.  The  larger  section  of  the  flame,  because 
Ulysses  was  the  greater  personage. 

The  story  of  Ulysses's  last  voyage  and  death  in  the  following  splen- 
did passage  cannot  be  traced  to  any  source.  It  seems  to  have  been 
an  invention  of  Dante.  It  has  nothing  in  common  with  the  end 
which  is  predicted  for  Ulysses  in  the  Odyssey,  xi,  134-137. 


NOTES  277 

"  So  at  the  last  thy  death  shall  come  to  thee 
Far  from  the  sea,  and  gently  take  thee  oflF, 
In  a  serene  old  age  that  ends  among 
A  happy  people." 

Tennyson's  noble  poem,  "Ulysses,"  was  evidently  inspired  by 
Dante. 

95.  Circe.  An  enchantress  who  dwelt  in  the  island  of  Aeaea,  and 
who  turned  men  into  beasts.  After  transforming  Ulysses's  com- 
panions, she  restored  them  at  his  intercession  and  through  the  inter- 
vention of  Hermes.  They  remained  on  the  island  for  a  year.  The 
story  is  told  in  the  tenth  book  of  the  Odyssey. 

96.  for  a  year  and  more.  Odyssey,  x,  466-408.  Dante  may  have 
drawn  the  tradition  of  Ulysses  and  Circe  from  Ovid,  Metam.  xiv, 
308  ff.,  since  it  is  not  probable  that  he  knew  Homer. 

97.  near  to  Gaeta.  According  to  the  Homeric  legend,  Circe 
dwelt  on  the  island  of  Aeaea  (Od.  x,  135).  Dante,  following  Vergil, 
Aen.  vii,  10-20,  places  her  at  the  promontory  of  Circaei,  the  modem 
Cape  Circello,  near  to  Gaeta,  a  town  on  the  southwestern  coast  of 
Italy,  at  the  upper  extremity  of  the  modem  GoKo  di  Gaeta,  and 
named  by  Aeneas  after  his  nurse.     See  Aen.  vii,  1-2. 

98.  fondness  for  my  son.  Comp.  Aen.  ii,  137-138,  where  similar 
words  are  used  by  Sinon. 

103.  experienced  in  the  world.  Comp.  Homer,  Od.  i,  1-5;  but 
Dante  may  have  recalled  Horace's  version  of  Od.  i,  3,  in  his  "Ara 
Poetica,"  1.  142. 

110.  the  others.     Corsica,  Sicily,  and  the  Balearic  Islands 

113.  that  narrow  pass.     The  Straits  of  Gibraltar. 

114.  his  boundaries.  Two  heights,  one  on  each  side  of  the 
Straits  of  Gibraltar.  The  one  on  the  Spanish  side  was  called  Calpe, 
now  Gibraltar,  and  the  one  on  the  African  side,  Abyla.  The  two 
were  known  as  "the  Pillars  of  Hercules."  According  to  tradition, 
the  shores  were  originally  united,  but  were  torn  asunder  by  Hercules. 

116.  Ceuta.     In  Morocco,  opposite  Gibraltar. 
118.  Brothers,  etc.    Comp.  Aen.  i,  198-203. 
121.  the  world  unpeopled.     See  Introduction  under  "Dante's 
Cosmogony." 

128.  our  stem.  He  marks  the  direction  of  the  stem,  knowing 
what  he  was  leaving,  but  ignorant  of  his  destination. 

129.  130.  we  made  wings.    Comp.  Aen.  iii,  520. 

crazy  flight.  Dr.  Moore  quotes  from  C.  R.  Beazely,  "Prince 
Henry  the  Navigator":  "The  Arabs,  from  whom  the  Christian 
world  borrowed  most  of  their  geographical  ideas,  even  as  the  Arabs 
borrowed  theirs  largely  from  the  Greeks — were  adventurous  enough 
in  their  explorations  of  the  eastern  seas,  allured  by  the  pursuit  and 
profit  of  commerce.  But  they  had  a  strange  horror  of  the  Atlantic, 
*  the  green  sea  of  darkness,'  and  they  imparted  much  of  this  paralyz- 
ing cowardice  to  Christian  nations.  It  was  said  that  a  man  who 
should  embark  on  such  a  voyage  was  so  clearly  mad,  that  he  ought 
to  be  deprived  of  civil  rights." 

130.  to  larboard  still.  Their  course,  at  first  westward,  was  con- 
tinually veering  to  the  southwest. 


278  THE  DIVINE  CX)MEDY 


132.  the  other  pole.  The  Antarctic  pole.  They  had  passed 
south  of  the  Equator. 

134.  beneath  the  moon.  On  the  side  of  the  moon  tmned  toward 
the  earth. 

137.  a  momit.    The  moimtain  of  Purgatory. 

143.  it  smote.     Comp.  Aen.  i,  114-117. 

144.  with  all  the  waters.  The  blast  made  not  only  the  ship 
revolve,  but  all  the  waters  roimd  it. 

145.  146.  as  pleased  another.    As  pleased  God. 


CANTO  XXVII 

4.  consent.    See  1.  21. 

7,  8.  bull  of  Sicily.  A  brazen  bull  constructed  for  Phalaris,  the 
tyrant  of  Agrigentum  in  Sicily,  about  B.C.  570.  In  this  contrivance 
victims  were  burned  to  death. 

9,  10.  of  him  who — had  shaped  it.  Perillus,  the  maker  of  the 
bull,  is  said  to  have  been  the  first  victim. 

and  that  was  right.     See  0\dd,  Ars  Am.,  653-656. 

21.  pass  on  now.  These  words  are  implied  in  "consent," 
1.  4. 

27.  whence  all  my  sins  I  bring.  Which  is  the  origin  of  all 
my  sin. 

28.  the  Romagnuoli.  Romagna  was  the  former  Exarchate  of 
Ravenna.  The  Exarchate  and  the  adjoining  Pentapolis,  the  five 
maritime  cities  from  Rimini  to  Ancona,  received  the  name  of 
Romania,  Romandiola,  or  Romagna,  as  having  been  the  chief  seat 
of  the  later  imperial  power  in  Italy.  Roughly  speaking,  it  included 
the  district  between  the  Po,  the  Apennines,  the  Adriatic,  and  the 
Reno,  and  corresponded  to  the  modem  provinces  of  Bologna,  Ra- 
venna, Forli,  and  Ferrara. 

29.  the  momitains.  The  Apennine  ridge.  The  Tiber  has  its 
source  at  Monte  Coronaro.  The  speaker,  Guido  da  Montefeltro, 
fixes  his  birthplace  at  Montefeltro,  now  San  Leo  (see  note  on  Purg. 
iv,  25),  between  Urbino,  twenty-five  miles  south  of  Rimini,  and 
Monte  Coronaro  in  the  Apennine  ridge  to  the  southwest.  The  name 
Monte  Feltro,  which  was  originally  the  name  of  the  town  and  was 
transferred  to  the  district,  was  derived  from  the  ancient  Mons 
Feretrius  in  the  vicinity;  so  called,  it  is  said,  from  a  temple  dedi- 
cated to  Jupiter  Feretrius  or  "the  smiter."  The  district  of  Monte- 
feltro formed  part  of  Romagna,  and  belonged,  in  Dante's  time,  to 
the  Dukes  of  tJrbino.  The  historj^  of  the  place  and  of  the  house  of 
Urbino  is  related  by  James  Dennistoun  in  his  "Memoirs  of  the 
Dukes  of  Urbino." 

39.  tyrants.  The  great  families  in  the  different  cities  of  Romagna, 
whose  hearts  are  ever  burning  with  mutual  hatred. 

41.  Ravenna.     See  note  on  Inf.  v,  98. 

42.  Polenta.  A  few  miles  south  of  Forli.  The  Polenta  family 
were  Guelfs.     They  had  been  lords  of  Ravenna  since  1270.     The 


NOTES  279 

head  of  the  house  in  1300  was  the  father  of  Francesca  da  Rimini 
(see  Inf.  v),  and  under  the  roof  of  his  grandson,  Guido  da  Polenta, 
Dante  passed  his  last  days,  and  died.  The  armorial  bearing  of  the 
Counts  of  Polenta  was  an  eagle,  half  silver  on  a  blue  field,  and  half 
red  on  a  field  of  gold. 

43.  Cervia.  A  little  town  about  twelve  miles  south  of  Ravenna. 
Dante  means  that  Cervia  is  included  in  the  jurisdiction  of  the  Count 
of  Polenta. 

44.  under  the  Green  Paws.  Dante  means  that  Forli  is  now 
governed  by  the  Ordelafli,  whose  arms  are  a  green  lion  in  a  yellow 
field. 

47.  did  pile  the  French.  Forli,  about  twenty  miles  southwest  of 
Ravenna,  became  the  capital  of  Guido  da  Montefeltro  after  he  had 
subjected  the  whole  of  Romagna.  The  incident  here  alluded  to 
grew  out  of  the  attempt  of  Pope  Martin  IV,  in  1822.  to  vindicate 
the  papal  claims  by  sending  a  French  force  into  Romagna.  Forli 
was  besieged,  and  Guido  pretended  to  surrender  the  city,  and  opened 
a  gate  to  the  besiegers,  while  the  garrison  withdrew  by  another  gate. 
Guido  fell  upon  and  dispersed  the  French  reserve  which  was  posted 
in  the  plain,  and  then  re-entered  the  town  with  a  division  of  cavalry, 
and  "made  a  bloody  heap  of  the  French." 

47,  48.  Verruchio*s  Mastiff  Old,  and  the  Young  one.  Sons  of 
the  powerful  family  of  Malatesta,  who  were  lords  of  Rimini.  Their 
influence  began  with  Giovanni  Malatesta,  who  died  in  1247.  His 
oldest  son  was  called  Malatesta  da  Verruchio,  from  the  name  of  a 
castle  near  Rimini  which  had  been  presented  to  the  family  in  return 
for  their  services  to  the  city.  He  succeeded  his  father,  and  is  the 
one  whom  Dante  calls  "the  Old  Mastiff."  He  was  the  first  of  his 
family  to  become  lord  of  Rimini.  One  of  his  sons,  Gianciotto,  was 
the  husband  of  Francesca  da  Rimini,  and  the  other  was  her  lover 
whom  Gianciotto  killed.  Gianciotto's  half-brother  was  Malatestino, 
styled  by  Dante  "the  Young  Mastiff." 

Montagna.  Montagna  di  Parcitade,  the  head  of  the  Ghibellines 
in  Rimini,  He  was  treacherously  taken  prisoner  by  "the  Old 
Mastiff,"  and  murdered  in  prison  by  the  Young  one. 

49,  make  an  auger  of  their  teeth.  Harass  the  people  of  their 
subject  territories. 

50,  51.  the  Lion-cub  of  the  white  lair.  Mainardo  Pagano,  lord 
of  Faenza  in  1290,  and  of  Imola  in  1296.  His  arms  were  a  blue  lion 
on  a  silver  field.     He  is  called  "a  demon"  in  Purg.  xiv,  126. 

51,  52.  of  Lamone  and  of  Santemo.  The  cities  of  Faenza  and 
Imola,  designated  by  their  rivers.  Faenza  was  on  the  Lamone, 
between  Forli  and  Imola.  It  is  mentioned  again  in  Inf.  xxxii,  132, 
and  in  Purg.  xiv,  107.  Imola  on  the  Santemo  was  the  birthplace 
of  Benvenuto  Rambaldi,  who  was  the  first  public  lecturer  on  Dante 
at  Bologna  in  1375,  and  the  author  of  one  of  the  earliest  and  most 
valuable  commentaries  on  the  Commedia.  Dante  says  (De  Vulg. 
El.  i,  15),  "The  citizens  of  Bologna,  also,  get  from  those  of  Imola 
their  smoothness  and  softness  of  speech,  and  from  those  of  Ferrara 
and  Modena  a  spice  of  sharpness  characteristic  of  the  Lombards.  .  . 
If  therefore  the  people  of  Bologna  borrow  from  both  these  kinds  of 


280  THE  DIVINE  COMEDY 

dialect,  it  seems  reasonable  that  their  speech  should,  by  mixture 
of  opposites  above  referred  to,  remain  tempered  with  a  praiseworthy 
sweetness." 

changing  sides.  In  Romagna  Mainardo  supported  the  Ghibellines ' 
but  on  the  other  side  of  the  Apennines  was  devoted  to  the  Florentine 
Guelfs,  out  of  gratitude  for  the  protection  afiforded  by  Florence  to 
himself  and  his  property  during  his  minority.  At  the  battle  of 
Campaldino  in  1289  he  fought  on  the  Guelf  side;  the  next  year  he 
repelled  the  Guelfs  from  Faenza  and  made  himself  master  of  the  city. 
From  1290  to  1294  he  was  in  alliance  with  the  Guelf  Polentas  and 
Malatestas;  but  after  the  peace  in  1294,  he  served  the  Ghibelline 
Counts  of  Romagna.  He  accompanied  Charles  of  Valois  to  Floience 
in  1301.  Villani  describes  him  as  a  great  and  wise  tyrant,  wise  in 
war,  and  very  fortunate  in  many  battles,  and  as  holding  manj"^  castles 
and  having  many  followers  (Cron.  vii,  149). 

54.  whose  flank  the  Savio  bathes.  Cesena,  at  the  foot-hills  of  the 
Apennines,  "between  the  plain  and  the  mountain,"  on  the  river 
Sa\'io,  between  Forli  and  Rimini. 

56.  *twixt  tyranny  and  freedom.  In  1300  Cesena  was  partially 
independent.  In  1314  it  came  imder  the  rule  of  Malatestino,  lord 
of  Rimini. 

Dante's  account  of  the  condition  of  Romagna  may  be  thus 
summed  up.  The  Counts  of  Polenta  are  now  lords  of  Ravenna 
and  Cervia.  Forli  is  ruled  by  the  Ordelaffi.  The  Malatestas  are, 
as  usual,  harassing  their  subject  territories.  Mainardo  Pagano  is 
governing  Faenza  and  Imola,  and  Cesena  is  alternately  free,  and  in 
the  hands  of  tyrants. 

60.  after  its  own  fashion.    See  U.  14-18. 

63.  if  I  thought,  etc.  Ordinarily,  the  souls  desire  to  have  their 
memory  j>erpetuated  in  the  world  (see  note  on  Inf.  vi,  92);  but 
not  when  they  have  been  guilty  of  gross  crimes  against  their  fellow- 
men,  which  have  exposed  them  to  execration. 

Guido  da  Montefeltro's  story  which  follows  is  justly  regarded  as 
one  of  the  finest  passages  in  the  poem.  Guido  joined  the  Franciscan 
order  in  1296.  Boniface  VIII  had  been  elected  to  the  Papacy  in 
1294,  on  the  abdication  of  Celestine  V.  (See  note  on  Inf.  iii,  58.) 
This  abdication  was  accomplished  through  the  intrigues  of  Boniface, 
then  Cardinal  Gaetani.  The  validity  of  Boniface's  election  had 
been  early  questioned,  and  was  long  disputed  on  the  ground  that  the 
rights  of  his  predecessor  as  a  legally-chosen  Pope  were  indefeasible 
by  abdication.  Prominent  among  the  challengers  of  Boniface's 
election  were  two  cardinals  of  the  house  of  the  Colonnas,  a  powerful 
Ghibelline  family  of  Rome.  Their  protest  was  followed  by  excom- 
munication and'  the  sequestration  of  their  vast  property.  Their 
principal  fief  was  Palestrina,  the  ancient  Praeneste,  situated  on  a 
lofty  hill  about  twent}^  miles  southeast  of  Rome,  and  strongly  forti- 
fied. This  Boniface  proceeded  to  besiege,  but  unsuccessfully.  At 
this  juncture  he  bethought  himself  of  Guido,  the  old  Ghibelline 
monk  of  Montefeltro,  who  was  then  living  in  monastic  retirement  at 
Ancona.  The  Pope  summoned  him  from  his  cell,  gave  him  plenary 
absolution  for  his  broken  vows,  and  commanded  him  to  give  his 


NOTES  281 

advice  as  to  the  best  means  of  reducing  the  fortress.  Guido  de- 
manded further  absolution  for  any  crime  of  which  he  might  be 
guilty  thereafter,  and  then  gave  his  oracular  counsel:  "long  prom- 
ise and  short  fulfilment."  A  reconciliation  followed  between  the 
Colonnas  and  the  Pope.  The  Colonnas  afterward  asserted  that  they 
had  been  induced  to  surrender  Palestrina  on  the  understanding  that 
the  papal  banners  were  to  be  displayed  upon  the  walls,  but  that 
once  the  papal  honor  was  satisfied,  and,  possibly,  the  fortifications 
dismantled,  the  city  was  to  be  restored  to  its  lords.  Boniface,  how- 
ever, commanded  that  it  should  be  utterly  destroyed,  and  its  site 
ploughed  over  and  sown  with  salt. 

73.  the  great  priest.  Pope  Boniface  VIII.  See  note  on  Inf. 
xix,  56. 

78,  79.  not  of  the  lion — ^but  of  the  fox.  His  sins  were  not  those 
of  violence,  but  of  fraud.  See  prefatory  note  to  Inf.  xi.  This 
statement,  however,  does  not  agree  with  the  character  ascribed  to 
him  in  history,  which  is  that  of  a  distinguished  soldier,  masterly  in 
war  no  less  than  in  diplomacy. 

83,  84.  should  strike  the  sails.  "And  as  a  good  sailor,  when 
he  nears  the  harbor,  lowers  his  sails,  and  gently  and  with  feeble 
headway  enters  it,  so  should  we  lower  the  sails  of  our  worldly  occupa- 
tions, and  return  to  God  with  all  our  mind  and  heart,  so  that  we  may 
enter  our  haven  with  all  gentleness  and  peace."     Conv.  iv,  28,  1. 

88,  89.  the  chief  of  the  new  Pharisees.  Boniface,  as  the  head 
of  the  worldly  clergy. 

90.  hard  by  the  Lateran.  Being  a  strife  with  the  Colonnas  who 
lived  near  the  church  of  St.  John  Lateran. 

92.  was  Christian.  He  means  that  Boniface's  enemies  were  all 
within  the  pale  of  Christendom.  They  were  neither  of  the  Saracens 
who  conquered  Acre,  nor  of  the  Jews  who  carried  on  their  trade 
in  the  dominions  of  the  Sultan. 

93.  Acre.  The  ancient  Accho  (Judges  i,  31);  later,  as  in  the 
New  Testament,  Ptolemais  (Acts  xxi,  7),  now  St.  Jean  d'Acre,  a 
name  which  it  received  from  the  Crusaders.  It  lies  on  the  northern 
extremity  of  the  bay  which  runs  northward  from  the  promontory 
of  Carmel.  It  was  called  the  key  to  Palestine.  The  Franks  became 
masters  of  it  in  1110.  It  was  recovered  by  Saladin  in  1187,  and 
was  held  by  him  until  1191,  when  it  was  taken  by  the  Christians 
under  Richard  Coeur  de  Lion,  and  was  retained  until  1291.  It  had 
been  assigned  to  the  Knights  Hospitallers  of  Jerusalem,  who  fortified 
it  strongly,  and  it  was  wrested  from  them  by  the  Sultan  of  Egypt. 
Guido 's  words  are  a  reproach  to  Boniface  for  carrying  on  strife  with 
Christians  at  home,  while  he  should  have  been  aiding  the  Christian 
hosts  in  the  East. 

96.  the  cord.  The  cord  of  St.  Francis.  See  notes  on  Inf.  xvi, 
106;  xxiii,  3. 

97.  was  wont.  The  past  tense,  indicating  that  the  Franciscans 
had  departed  from  their  vow  of  poverty.  They  were  originally  a 
spiritual  force  in  a  movement  against  the  corruption  of  the  church, 
and  an  evangelistic  force  in  the  interest  of  penitence  and  faith; 
but  they  were  corrupted  by  the  Roman  See,  and  converted  into  an 


282  THE  DIVINE  COMEDY 

instrument  of  its  own  greed  and  secular  tyranny.  Preaching  for 
money  began  early  among  them.  Their  profession  of  poverty  be- 
came a  notorious  farce,  and  their  vow  was  evaded  by  vesting  abso- 
lute ownership  of  all  property  in  the  Pope,  and  enjoying  the  returns. 
The  property  thus  vested  accumulated  so  that  the  two  orders  of  St. 
Francis  and  St.  Dominic  were  the  richest  in  Christendom. 

98,  99.  as — Constantine.     See  note  on  Inf.  xix,  119. 

Soracte.  Now  Monte  di  S.  Oreste,  about  twenty-four  miles  north 
of  Rome.  Pope  Sylvester  is  said  to  have  taken  refuge  there  in 
a  cave  during  the  persecutions  of  Constantine,  and  to  have  been 
summoned  thence  by  the  Emperor.  A  church  and  a  monastery,  both 
bearing  the  name  of  San  Silvestro,  were  erected  on  the  mountain. 

100.  an  adept.  The  word  maestro  also  means  "physician," 
which  is  implied  here. 

101.  fever  of  his  pride.  His  feverish  impatience  to  rum  the 
Colonnas. 

110.  my  predecessor.  Celestine  V,  who  prized  the  keys  so  little 
that  he  voluntarily  relinquished  them. 

118.  Francis  came  for  me.  The  counsel  to  Boniface  was  given 
in  1297,  and  Guido  died  in  1298,  according  to  some  accounts  in  the 
Franciscan  monastery  at  Assisi,  and  according  to  others  at  Ancona. 

120.  take  him  not  away.     Comp.  Purg.  v,  112  ff. 

124.  he  who  is  not  contrite,  etc.  Repentance  and  the  will  to  sin 
cannot  exist  together,  for  that  involves  a  contradiction.  Dante 
everywhere  deprecates  mere  form  in  religion.  Forms  of  prayer, 
for  instance,  avail  nothing  unless  the  heart  is  sincerely  enlisted. 
See  Purg.  iv,  139-140;  xi,  33;  viii,  73;  vi,  45;  xi,  139. 

130.  that  I  was  a  logician.  Referring  to  11.  126-127.  I  could 
show  that  logic  could  not  admit  a  contradiction. 

131.  to  Mmos.     See  Inf.  v,  4-13. 

133.  having  bitten  it.  A  characteristic  expression  of  his  detesta- 
tion of  the  crime. 

135.  the  thievish  fire.     See  Inf.  xxvi,  44-45. 

144.  by  simdering  gain  a  load.  A  burden  is  commonly  acquired 
b\''  adding  or  joining  things  together.  Here  the  opposite  is  the 
case.  The  burden  of  suffering  and  punishment  comes  of  dividing — 
sowing  discord. 

CANTO   XXVIII 

1.  unfettered  words.     Words  freed  from  the  trammels  of  metre. 

6,  7.  if — were  gathered,  etc.  The  following  passage,  6-21, 
is  another  specimen  of  Dante's  multiplication  and  elaboration  of 
the  details  of  a  comparison,  tending  to  obscure  the  main  point. 
Simply  stated,  the  comparison  is:  if  the  victims  of  five  different 
scenes*^  of  bloodshed  could  be  brought  together,  the  combined  effect 
would  not  equal  the  display  presented  in  this  Bolgia.  But  Dante 
names  the  different  scenes  of  carnage,  and  to  most  of  them  adds 
details,  and  in  one  instance  stops  to  note  his  authority  for  his  state- 
ment. 

8.  Apulianland.    In  its  widest  sense,  Apulia  originally  included  the 


NOTES  283 

whole  southeast  of  Italy,  from  the  river  Frento  to  the  lapygian 

Eromontory,  now  S*  Maria  di  Leuca,  at  the  very  extremity  of  the 
eel  of  the  boot. 

the  sport  of  fate.  Which  has  experienced  changes  of  fortune. 
Sometimes,  less  correctly,  it  is  explained,  "doomed  to  disaster." 

9.  Trojans.  The  majority  of  modem  editors  incorrectly  read 
Romani,  * 'Romans."  The  Romans  at  the  time  of  the  Second 
Punic  war  are  called  Trojans,  as  having  originally  come  from  Troy. 
Thus  Dante  says,  speaking  of  the  Romans:  "the  holy  race  in  whom 
is  mingled  the  lofty  Trojan  blood."      Conv.  iv,  4,  4.     Comp.  iv,  5,  2. 

10.  with  the  rings.  The  Romans  were  decisively  defeated  by 
the  Carthaginians  under  Hannibal  near  the  village  of  Cannae, 
B.C.  216.  The  story  is  that  great  quantities  of  rings  were  taken 
from  the  fingers  of  the  slain  Roman  knights  after  the  victory. 

11.  as  Livy  writes.  Livy's  words  are:  "Then,  in  proof  of  this 
so  joyful  news,  he  ordered  the  golden  rings  to  be  poured  out  in  the 
vestibule  of  the  Senate-House  (at  Carthage),  of  which  there  was 
such  a  heap  that  some  have  taken  upon  themselves  to  say  that, 
on  being  measured,  they  filled  three  pecks  and  a  half.  The  state- 
ment has  obtained,  and  is  more  like  the  truth,  that  there  were  not 
more  than  a  peck."     Hist,  xxiii,  12.     Comp.  Conv.  iv,  5,  4. 

13.  Robert  Guiscard.  Bom  at  Hauteville,  in  Normandy,  about 
1015,  and  sumamed  Guiscard,  "sagacious"  or  "cunning."  A 
lively  picture  of  his  appearance  and  character  is  furnished  by  Gibbon, 
"Decline  and  Fall,"  ch.  Ivi.  From  a  very  early  period  Southern 
Italy  had  been  occupied  by  Greeks,  so  that  it  was  known  as  Magna 
Graecia.  The  Saracens  came  to  Sicily  in  827  A.D.,  and  after  fifty 
years  completed  the  conquest  of  that  island.  The  Norman  conquests 
m  Italy  began  early  in  the  eleventh  century.  Within  a  hundred 
years  all  Southern  Italy  with  Sicily  was  brought  under  Norman 
rule.  The  Duchy  of  Apuha  began  in  1042.  In  1053,  Pope  Leo  IX 
invested  the  Normans  with  all  that  they  could  conquer  in  Apulia, 
Calabria,  and  Sicily.  Robert  Guiscard  succeeded  to  the  chief  com- 
mand of  the  Norman  forces  in  1057.  Two  years  later  he  was  made 
Duke  of  Apulia,  and  for  the  next  twenty-one  years  was  engaged  in 
wars  with  the  Greeks  and  Saracens  in  Southern  Italy  and  Sicily. 
These  Greeks  and  Saracens  are  referred  to  by  Dante  here  as  "feeling 
the  pain  of  blows." 

15.  Ceperano.  A  town  in  Latium  on  the  bank  of  the  river  Liris 
(mod.  Garigliano).  Dante  alludes  to  it  here  in  connection  with  the 
betrayal  of  Manfred  by  the  Apulians,  just  before  the  battle  of  Bene- 
vento  in  1266.  On  the  approach  of  Charles  of  Anjou,  Manfred  posted 
the  Count  Giordano  and  the  Count  of  Caserta  at  the  bridge  of  Ceper- 
ano ;  but  the  Count  of  Caserta  abandoned  the  post,  owing,  it  was  said, 
to  a  private  wrong  at  the  hands  of  Manfred ;  and  Count  Giordano  was 
therefore  compelled  to  retire.  There  was  no  battle  at  Ceperano,  as 
Dante  seems  to  imply,  and  he  may  have  confused  it  with  the  battle 
of  Benevento,  where  the  greater  part  of  the  barons  of  Apulia  and  of 
the  kingdom,  either  from  cowardice  or  from  treachery,  took  to  flight. 

17.  Tagliacozzo.  A  village  of  central  Italy  in  the  Abmzzi,  twenty 
miles  south  of  Aquila.    On  the  death  of  Frederick  II,  in  1250,  his 


284  THE  DIVINE  COMEDY 

son  Manfred  seized  the  crovm  of  Sicily  and  Naples,  and  held  it  to 
the  exclusion  of  young  C!onradin,  the  son  of  Conrad  IV  of  Germany 
and  the  rightful  claimant.  The  Pope,  filled  with  hatred  for  the 
house  of  Hohenstaufen  and  for  the  race  of  Frederick,  offered  the 
crown  to  Charles  of  Anjou,  a  younger  brother  of  Louis  IX  of  France, 
who  accepted  it,  and  was  furnished  with  money  by  the  Pope  to 
enable  him  to  take  possession.  He  defeated  Manfred,  who  was  slain, 
and  assumed  the  sovereignty.  In  1268  Conrad  in,  now  sixteen 
years  of  age,  with  Frederick  of  Austria,  crossed  the  Alps  to  recover 
his  inheritance,  and  was  joined  by  the  Ghibellines  in  Italy.  The 
armies  met  at  Tagliacozzo.  Charies  was  routed,  and  his  troops  fled ; 
but  by  the  advice  of  Alardo  or  Erard  de  Valery,  the  conmiander  of 
his  forces,  he  kept  his  reserves  in  the  background  until  Conradin's 
German  and  Spanish  troops  were  scattered  over  the  field  in  search 
of  plunder.  Then  Charies  threw  forward  his  fresh  troops,  and 
completely  routed  Conradin.  See  the  account  of  the  battle  in 
Villani,  Cron.  vii,  26,  27. 

18.  without  weapons.  Alardo  won  the  battle  for  Charles  by  his 
advice,  and  not  by  fighting. 

22,  middle-piece  or  stave.  The  middle-  or  side-boards  of  the 
bottom  of  a  cask. 

32.  All.  Adopted  and  educated  by  Mahomet  and  his  fourth 
successor.  Mahomet  made  him  his  vicegerent,  and  gave  him  the 
hand  of  his  daughter.  The  question  of  All's  right  to  the  succession 
divided  the  Mahometans  into  two  sects — the  Sunnites,  who  denied 
the  right,  and  the  Shiites  or  Shya'ees,  who  maintained  it. 

33.  cloven  in  his  face.  Scartazzini  points  out  that  Dante  has 
represented  Ali  with  just  that  part  of  the  body  severed  which  has 
been  left  entire  to  Mahomet,  because  Ali  was  the  author  of  a  schism 
among  the  Mahometans  themselves.  Mahomet  has  his  body  cleft 
because  he  sowed  schism  among  the  nations.  Ali  has  his  head 
cleft  because  he  sowed  schism  principally  among  the  heads  of  the 
Mahometan  sect. 

44.  musest.  The  word  muse,  which  occurs  only  here,  conveys 
a  contemptuous  intimation.  The  verb  is  defined  "to  think,  to 
surmise";  but  also  "to  gape  idly  about;  to  hold  one's  muzzle  or 
snout  in  the  air."  It  is  directly  akin  to  muso,  "snout";  but  there 
underlies  it  the  sense  of  stupid  gazing,  with  an  idle,  unintelligent 
curiosity ;  snuffing  about  like  a  dog  with  his  nose  in  the  air.  Scar- 
ta,zzini  gives  as  the  primary  definition,  "to  stand  lazily  in  stupid 
fashion." 

56.  forgetful  of  their  torment.    Comp.  Purg.  ii,  75. 

58.  Fra  Dolcino.  Dolcino  de'  Tomielli  of  Novara,  1305.  He 
was  known  as  Fra  ("brother")  from  his  connection  with  the  sect 
of  "the  Apostolic  Brethren,"  founded  in  1260  by  Gerardo  Segarelli 
of  Parma,  and  ha\'ing  for  its  object  to  restore  the  apostolic  simphcity 
of  the  Church.  After  the  death  of  Segarelli  in  1300,  he  became  the 
head  of  the  sect.  They  denounced  the  Papacy  as  *  *  the  Great  Harlot' ' 
of  the  ApocaJypse.  They  held  themselves  amenable  to  no  papal 
censure,  yet  accepted  in  other  respects  the  entire  creed  of  the  Church. 
PoUtically  they  were  Ghibellines,  resting  their  hopes  on  the  Sicilian 


NOTES  285 

house  of  Aragon.  They  first  appeared  as  an  organized  community 
in  1304  in  Piedmont,  where  they  were  joined  by  a  multitude  of 
adherents.  They  professed  to  hve  a  sternly  ascetic  life.  Clement  V, 
in  1305,  issued  a  bull  for  their  excommunication;  whereupon  they 
withdrew  to  a  mountain  called  Balnera,  in  the  upper  part  of  Vai 
Sesia,  and  there  built  a  town.  They  repelled  successfully  the  first 
attack  upon  them,  and  took  prisoner  the  Podesta  of  Varallo,  the 
leader  of  the  attacking  force.  A  league  of  Guelf  nobles  was  formed 
under  an  oath  to  exterminate  them.  This  converted  the  brotherhood 
into  an  army,  and  Dolcino  showed  himself  to  be  an  able  general, 
and  thrice  defeated  the  forces  of  the  Bishop  of  Vercelli.  They  were 
finally  subdued  by  starvation,  massacred,  and  burned.  Dolcino  him- 
self was  seized  and  burned  alive  with  horrible  tortures.  The  esti- 
mates of  Fra  Dolcino  differ.  Villani  denounces  him  as  a  preacher 
of  the  vilest  communism.  Milman,  whose  principal  authority  is 
Muratori,  is  temperate  and  cautious.  Mariotti  (an  assumed  name), 
"Dolcino  and  his  Times,"  thinks  that  he  was  the  victim  of  un- 
founded calumnies.  Benvenuto  da  Imola  testifies  to  his  learning, 
eloquence,  and  fortitude,  but  believes  the  reports  of  his  profligate 
teachings. 

60.  to  equip  himself.  Dolcino  and  his  followers  finally  suc- 
cumbed to  starvation,  and  to  a  heavy  fall  of  snow,  which  enabled  the 
Novarese,  who  were  leading  the  attack,  to  overpower  them.  Dante 
represents  the  schismatic  Mahomet,  the  enemy  of  Christendom,  as 
sending  this  message  to  one  who  professed  to  represent  primitive 
apostolic  Christianity.  It  has  been  suggested  that  Mahomet  rnay 
have  seen  in  Dolcino  a  sympathizer  with  his  own  views  regarding 
women.  If  that  be  true,  it  is  a  keen  thrust  of  Dante,  who  naturally 
regarded  Dolcino  as  a  schismatic.  Benvenuto  thinks  that  Mahomet's 
interest  in  Dolcino  grew  out  of  his  hatred  of  the  Christian  Church,  of 
which  Italy  was  the  chief  seat.  If  he  could  prevent  Dolcino 's  heresy 
from  being  exterminated  he  might  hope  that  it  would  spread  through 
Italy. 

77.  the  lovely  plain.    The  plain  of  Lombardy. 

79.  Pier  da  Medicina.  Medicina  was  a  smaU  town  near  Bologna. 
Pier  da  Medicina  belonged  to  a  family  who  were  "captains"  of 
Medicina  m  the  thirteenth  century.  He  was  a  notorious  scandal- 
monger, and  a  persistent  sower  of  discord  between  the  houses  of 
Polenta  and  Malatesta. 

80.  Fano's  worthiest  pair.  Fano  was  on  the  Adriatic  between 
Pesaro  and  Ancona.  "The  two"  are  Angiolello  da  Cagnano  and 
Guido  del  Cassero,  noblemen,  whom  Malatestino  of  Rimini,  "the 
Young  Mastiff"  (see  note  on  Inf.  xxvii,  48),  invited  to  a  conference 
at  La  Cattolica,  a  small  town  on  the  Adriatic,  and  caused  to  be 
drowned  by  the  sailors  on  their  way  thither. 

87.  Cyprus  and  Majorca.  Regarded  as  marking  the  eastern  and 
western  limits  of  the  Mediterranean. 

88.  Argive  folk.  The  early  Greek  settlers  in  Italy  and  Sicily 
were  regarded  as  brigands. 

89.  that  traitor.    Malatestino,  who  had  lost  an  eye. 

90.  the  city.    Rimini. 


286  THE  DIVINE  COMEDY 

91.  one  of  my  comrades.  This  is  Caius  Scribonius  Curio  Q.  106). 
In  the  civil  war  between  Caesar  and  Pompey,  he  was  originally  an 
adherent  of  Pompey,  by  whose  influence  he  was  made  Tribune  of 
the  Plebs,  B.C.  50.  In  this  office  he  became  deeply  involved  in 
debt,  and  Caesar  won  him  to  his  side  by  discharging  his  obligations ; 
Curio  having,  it  is  said,  saved  his  life  when  he  was  leaving  the  Senate- 
house  after  the  debate  about  Catiline's  accomplices.  He  was  a 
turbulent  and  unprincipled  man,  and  used  his  influence  against  his 
former  friends. 

94.  Focara's  wind.  Focara  was  a  headland  near  La  Cattolica, 
and  was  dangerous  on  account  of  ts  storms.  AngioleUo  and  Guido 
would  have  no  need  to  invoke  the  protection  of  Heaven  against  a 
tempest,  because  they  would  be  drowned  before  reaching  Focara. 

98.  to  whom  the  sight  is  bitter.  To  whom  it  is  painful  to  have 
seen  Rimini. 

101.  this  is  he  himself.    Curio. 

102.  banished.  He  accompanied  Caesar  from  Rome  when  the 
latter  was  proclaimed  an  enemy  to  the  Republic  by  the  Senate. 

102,  103.  drowned  the  doubt  in  Caesar.  Overcame  Caesar's 
hesitation  about  commencing  the  civil  war.  Curio  reached  Caesar 
at  Ravenna  before  he  cross^  the  Rubicon.  Dante  represents  him 
as  giving  his  advice  at  Rimini,  and  after  he  had  crossed  the  Rubicon. 
Dante  foUows  Lucan,  Phars.  i,  223-224,  who  says  that  after  Caesar 
had  crossed  the  Rubicon  he  attacked  Ariminum,  and  was  there  joined 
by  Curio;  and  that  when  he  was  hesitating  whether  he  should 
advance,  Curio  answered  in  the  words  which  Dante  here  gives  in 
substance:  "Away  with  delays!  Delaying  has  always  harmed 
those  who  were  ready." 

111.  Mosca.  Mosca  Lamberti.  Dante  inquired  for  him  when  in 
the  third  circle  (see  Inf.  vi,  82).  He  was  the  one  at  whose  instigation 
the  Amidei  murdered  Buondelmonte,  the  crime  which  led  to  the 
introduction  into  Florence  of  the  Guelf  and  Ghibelline  feuds  (see 
note  on  Inf.  \i,  62). 

112.  a  thing  once  done  is  ended.  The  words  uttered  by  Mosca 
when  the  friends  of  the  Amidei  were  plotting  how  to  avenge  the 
wrong  done  to  their  house  by  Buondelmonte.  He  was  also,  accord- 
ing to  Villani,  one  of  the  murderers. 

113.  seed  of  evil  to  the  Tuscan  folk.  Because  the  murder  divided 
the  citizens  into  two  factions.  The  Buondeknonti  became  the  leaders 
of  the  GueKs,  the  Amidei  of  the  Ghibellines. 

114.  death  to  thy  race.  The  Lamberti  family.  They  were  driven 
from  Florence  in  1258.  When  the  two  Jovial  Friars,  Catalano  and 
lx)deringo,  were  made  Podest^s  of  Florence  (see  note  on  Inf.  xxiii, 
107-108),  they  appointed  thirty-six  of  the  best  men  in  the  city  as 
counsellors.  In  1266  the  Ghibellines  began  to  suspect  the  thirty- 
six  of  favoring  the  Guelfs,  and  determined  to  break  up  the  body. 
The  Lamberti  began  the  attack.  From  this  time  the  family  dis- 
appears from  the  chronicles. 

129.  of  itself  it  made  a  lamp.  He  saw  his  way  through  the  eyes 
of  the  head  which  he  held  in  his  hand. 

130,  131.  two  in  one  and  one  in  two.    There  were  two,  because 


NOTES  287 

the  body  was  divided  into  two  parts ;  but  there  was  only  one,  because 
the  two  parts  continued  their  functions  as  if  united. 

140.  Bertrand  de  Bom.  Bertrand  de  Bom,  one  of  the  oldest  and 
most  famous  of  the  Troubadours,  and  Lord  of  Hautefort,  1140-1215. 
He  was  a  Cistercian  monk  for  twenty  years,  and  a  writer  of  warlike 
poems,  of  which  a  number  have  been  preserved.  He  was  fond  of 
strife,  and  active  in  promoting  it  among  his  neighbors. 

142.  to  the  young  king.  The  correct  reading  is  giovane,  "young," 
and  not  Giovanni,  "John,"  although  the  latter  is  supported  by  the 
great  mass  of  manuscript-evidence,  and  is  adopted  by  some  eminent 
authorities.  "The  young  king"  was  Henry,  the  son  of  Henry  H  of 
England  (1154-1189).  He  was  twice  crowned  during  his  father's 
lifetime,  in  1170  and  1172.  After  the  second  coronation  he  claimed  to 
share  the  royal  power  with  his  father,  and  demanded  the  sovereignty 
of  either  England  or  Normandy.  He  was  compelled  to  fly  to  the 
French  court,  but  was  supported  by  his  mother.  Queen  Eleanor,  by 
King  Louis  of  France,  and  by  King  William  of  Scotland.  He  was 
aided  in  this  rebellion,  if  not  prompted  to  it,  by  Bertrand  de  Bom, 
with  whom  he  was  on  very  intimate  terms. 

143.  Achitophel.     See  2  Sam.  xv,  12  ff. 

144.  did  no  more.  Did  not  stir  up  more  strife.  The  fitness  of 
the  parallel  is  obvious,  and  the  grief  of  David  when  informed  of 
Absalom's  death  (2  Sam.  xviii,  33)  has  its  analogue  in  the  violent 
sorrow  of  Henry  II  on  hearing  of  Prince  Henry's  death. 

147.  its  source.    The  spinal  marrow.     Others  explain,  the  heart. 


CANTO  XXIX 

8.  the  vale.  The  ninth  Bolgia.  For  the  first  time,  Dante  gives 
a  precise  numerical  measurement  of  dimension.  In  Inf.  xxx,  89, 
he  tells  us  that  the  tenth  trench  is  eleven  miles  in  circuit,  showing 
that  the  circuit  of  the  trenches  diminishes  as  they  approach  the 
central  pit.  As  the  ratio  of  the  circumference  to  the  diameter  of 
a  circle  was  understood  in  Dante's  time  to  be  22 :7,  the  diameter  of 
the  ninth  bolgia  was  seven  miles,  and  that  of  the  tenth,  three  miles 
and  a  half.  This  last  included  the  diameter  of  the  well  or  pit  enclosed 
within  it.  There  may  also  be  an  implication  that  the  number  of 
those  guilty  of  the  worse  forms  of  fraud  is  smaller  than  the  numbers 
in  the  higher  trenches, 

10,  11.  the  moon  is  underneath  our  feet.  Time  in  the  Inferno 
is  measured  by  the  moon,  and  not  by  the  sun.  Comp.  Inf.  x,  81  ; 
XX,  132-135,  and  see  notes.  It  was  1  or  2  P.M.  The  moon 
was  two  days  past  the  full. 

17,  and,  as  I  went  behind.  The  sense  is:  Even  while  I  was 
apologizing,  my  guide  moved  on  and  I  after  him,  adding,  etc. 

29.  Geri  del  Bello.  First  cousin  of  Dante's  father,  a  turbulent 
and  quarrelsome  character,  who  sowed  discord  among  the  Sachetti, 
a  noble  family  of  Florence,  in  revenge  for  which  he  was  murdered 
by  one  of  them. 


THE  DIVINE  COMEDY 


30,  31.  who  once  held  Altaforte.  Bertrand  de  Bom,  who  occu- 
pied the  Castle  of  Hautefort,  near  Perigueux. 

33.  which  is  not  yet  avenged.  Vengeance  was  regarded  in  Dante's 
time  as  a  positive  duty,  which  it  was  dishonorable  to  omit.  Napier 
says  that  it  was  sometimes  allowed  to  sleep  for  thirty-five  years, 
and  then  struck  suddenly  a  victim  who  had,  perhaps,  not  yet  seen 
the  light  when  the  original  injury  was  inflictea. 

34,  35.  who  of  the  shame  is  partner.  The  outrage  was  regarded 
as  affecting  the  whole  family  of  the  injured  party. 

37.  more  compassionate.  Dante  thus  intimates  his  approval  of 
the  vendetta. 

39.  the  first  place,  etc.  They  were  crossing  the  bridge  which 
spanned  the  tenth  trench,  and  had  reached  the  first  point  which 
would  have  conamanded  a  view  into  the  trench  if  the  light  had  been 
sufficient. 

42.  cloister.  Possibly  with  an  ironical  reference  to  a  monastic 
cloister,  although  the  word  does  not  necessarily  imply  that.  It  may 
be  simply  an  enclosed  place,  a  "close." 

44.  lay-brotherhood.    Appropriate  to  a  cloister. 

45.  assailed  me.     Lit.  "pierced  me  as  wHth  arrows." 

50.  Valdichiana.  The  river  Chiana  in  Tuscany  was  noted  for  the 
sluggishness  of  its  stream,  owing  to  the  deposits  in  its  bed,  which 
converted  the  whole  valley  into  a  malarious  swamp.  Dante,  speak- 
ing of  the  evolutions  of  two  clusters  of  stars  which  he  saw  in  the 
heaven  of  the  Sun,  says  that  their  motion  is  as  much  swifter  than 
we  are  wont  to  see,  as  that  of  the  Primum  Mobile  is  swifter  than  the 
motion  of  the  Chiana.  Par.  xiii,  22-24.  The  malarious  character  of 
the  district  caused  the  erection  of  many  hospitals.  Modem  enter- 
prise has  entirely  changed  its  character,  and  has  converted  it  into 
one  of  the  most  fertile  districts  of  Italy. 

51.  Maremma.    See  note  on  Inf.  xiii,  9. 

Sardinia.  Even  in  modem  times  the  heat  and  drought  of  summer 
develop  malaria  in  the  low  grounds  of  the  island. 

53.  such  stench.     See  note  on  Inf.  xi,  5. 

56.  upon  the  last  bank.  The  embankment  on  the  side  of  the 
trench  nearest  the  central  pit. 

62.  Aegina.  An  island  near  the  coast  of  Argolis.  Its  unpro- 
ductive soil  turned  its  inhabitants  to  seafaring.  For  a  long  time 
it  was  the  maritime  rival  of  Athens,  \mtil,  after  the  Persian  war, 
its  fleet  was  destroyed  in  a  sea-fight  with  the  Athenians,  and  many 
of  the  inhabitants  were  driven  from  the  island.  It  revived  after 
the  fall  of  Athens,  but  never  recovered  its  former  prosperity.  Ac- 
cording to  legendary  historj',  Aegina  was  the  birthplace  of  Aeacus, 
who,  after  his  death,  became  one  of  the  judges  in  the  lower  world 
along  with  Minos  and  Rhadamanthus.  Jupiter  having  become 
enamored  of  the  nymph  Aegina,  Juno  depopulated  the  island  by 
a  pestilence.  Aeacus  besought  Jupiter  to  repeople  it;  whereupon 
Jupiter  transformed  all  the  ants  into  men,  who  were  called  Myrmi- 
dons. The  story  is  told  by  Ovid,  Metam.  vii,  523  ff.,  from  whom 
Dante  derived  it. 

78.  as  baking-pans — lean.    A  contemptuous  simile.    Dr.  Moore 


NOTES  280 

calls  attention  to  the  contrast  presented  by  the  language  in  which 
the  same  posture  is  described  in  Purg.  xiii,  55-64. 

86.  the  nails  downward  dragged,  etc.  The  disgusting  realism 
of  this  picture  needs  no  comment. 

93,  94.  forever  may  thy  nails  suffice  thee.  Insulting  contempt. 
Comp.  Inf.  XXX,  33,  34. 

97.  broke  their  mutual  support.  They  ceased  leaning  agamst 
each  other. 

108,  109.  I  was  an  Aretine.  The  speaker  is  one  Griff olino,  an 
alchemist.  Arezzo  is  in  Tuscany,  midway  between  Florence  and 
Perugia. 

110.  Albero  of  Siena.  Said  to  have  been  the  natural  son  of  a 
Sienese  bishop. 

117,  118.  I  made  him  not  a  Daedalus.  I  did  not  teach  him  to 
do  what  Daedalus  did  when  he  made  wmgs  for  Icarus.  See  note  on 
Inf.  xvii,  107. 

119.  by  one.  The  Bishop  of  Siena,  who  regarded  Albero  as  his 
son  although  he  was  illegitimate. 

124,  125.  so  frivolous  as  are  the  Sienese.  Comp.  Purg.  xiii,  156. 
Dante's  contempt  for  the  Sienese  appears  in  many  passages  of  the 
Commedia.  It  is,  in  part,  an  expression  of  the  bitter  hatred  which, 
for  more  than  a  hundred  and  fifty  years,  had  existed  between  Siena 
and  Florence.  This  reached  its  climax  in  the  expulsion  of  the 
Ghibellines  from  Florence  in  1258,  and  their  warm  reception  at 
Siena,  in  violation  of  a  treaty  made  in  1255,  by  which  Siena  had 
bound  herself  not  to  receive  any  person  banished  from  Florence; 
and  finally  in  the  battle  of  Montaperti  in  1260,  in  which  the  Guelfs 
of  Florence  were  utterly  routed  by  the  Sienese  Ghibellines.  Apart 
from  these  political  motives,  the  character  of  the  Sienese  people 
was  repugnant  to  Dante's  stem  and  severe  temperament.  Their 
vanity  made  them  ambitious  to  excel  alike  in  arms  and  in  arts.  They 
were  at  once  sensual  and  self-assertive.  They  mingled  religious 
enthusiasm  with  partisan  bitterness.  "The  city  of  civil  discord 
was  also  the  city  of  frenetic  piety."  In  the  Middle  Ages  they 
were  notorious  for  the  refinements  of  sensuality.  They  delighted 
in  all  manner  of  showy  pageants,  and  in  the  most  reckless  extrava- 
gance in  their  sensual  pleasures.  Their  sensuous  character  was 
stamped  alike  upon  their  art  and  their  literature.  Of  their  novel- 
ists, Symonds  says:  "They  blend  the  morbidezza  of  the  senses 
with  a  rare  feeling  for  natural  and  artistic  beauty.  Descriptions 
of  banquets  and  gardens,  fountains  and  wayside-thickets,  form  a 
delightful  background  to  the  never-ending  festival  of  love.  .  .  . 
Though  indescribably  licentious,  these  novelists  are  rarely  coarse 
or  vulgar.  .  .  .  Their  tales,  for  the  most  part,  are  the  lunes  of 
wanton  love,  day-dreams  of  erotic  fancy,  a  free  debauch  of  images, 
now  laughable,  now  lewd,  but  all  provocative  of  sensual  desire. 
At  the  same  time  their  delight  in  landscape-painting,  combined  with 
a  certain  refinement  of  aesthetic  taste,  saves  them  from  the  brutal- 
ities of  lust."  "Renaissance  in  Italy,"  v,  97.  Allusions  to  Siena 
or  the  Sienese  may  be  found  in  Purg.  v,  143;  xi,  69,  119,  132,  144. 
The  student  may  profitably  consult  Mr.  J.  A.  Symonds's  "Renais- 


290  THE  DIVINE  COMEDY 

sance  in  Italy,"  Professor  C.  E.  Norton's  "Church  Building  in  the 
Middle  Ages,"  and  Bassermann's  ''Dante's  Spuren  in  Italien." 

128.  except  me  Stricca.  Bitterly  ironical,  since  Stricca  was  noto- 
rious for  his  extravagance.  He  is  said  to  have  been  a  member  of 
"the  Spendthrift  Brigade."     See  note  on  Inf.  xiii,  121, 

130.  Niccolo.  Another  reputed  member  of  "the  Spendthrift 
Brigade."     He  is  said  to  have  been  the  author  of  a  cooker>'-book. 

131.  fashion  of  the  clove.  The  precise  nature  of  this  Epicurean 
refinement  is  uncertain.  It  has  been  explained  as  the  roasting  of 
game-birds  at  fires  made  with  cloves ;  the  serving  of  cloves  and  other 
spice  with  roasted  meats ;  and  the  cultivating  of  spices  in  proximity 
to  each  other,  so  that  the  various  flavors  might  blend  in  each. 

132.  the  garden.  This  may  mean  the  company  of  Epicures  or 
Siena. 

134.  Caccia  d'Ascian.    Another  Sienese  spendthrift. 

136.  the  Abbagliato.  A  nickname,  "muddle-head,"  applied  to 
one  Bartolonuneo  de'  Folcacchieri,  who  held  high  official  position 
in  Siena  between  1277  and  1300. 

137.  backs  thee.  Backs  your  accusation  of  vanity  against  the 
Sienese. 

141.  Capocchio.  Meaning  "blockhead."  An  alchemist,  whether 
of  Florence  or  of  Siena  is  disputed.  His  being  burnt  at  Siena  is  a 
historical  fact. 

144.  Nature  aped.  He  appeals  to  Dante's  personal  recollection 
that  he  was  a  clever  mimic.  The  reference  is  not  to  his  skill  in 
treating  metals. 


CANTO  XXX 

The  illustration  of  insanitj'  with  which  the  Canto  opens  is  drawn 
from  0\'id,  Metam.  iv,  512  fif.,  whom  Dante  follows  closely. 

1.  because  of  Semele.  Semele  was  the  daughter  of  Cadmus. 
She  became,  at  Thebes,  the  mother  of  Dionysus  (Bacchus)  by  Jupiter. 
Juno,  enraged  at  Jupiter's  imfaithfulness,  induced  Semele  to  ask 
him  to  appear  before  her  in  his  fuU  di\Tne  majesty;  and  Semele 
was  struck  by  his  lightnings  and  burned  to  ashes.  Juno  likewise 
vented  her  wrath  upon  the  Thebans  by  smiting  with  madness 
Athamas,  the  lover  of  Semele's  sister  Ino,  to  whom  the  care  of  Dio- 
nysus had  been  intrusted  by  Jupiter.  Athamas,  in  his  frenzy,  took 
Ino  and  her  two  sons  for  a  lioness  and  her  cubs.  He  dashed  out 
the  brains  of  Learchus,  one  of  the  sons,  and  Ino  with  the  other  son, 
Melicertes,  threw  herself  into  the  sea. 

2.  more  than  once.  The  other  instance  of  Juno's  wrath  was 
in  the  case  of  Pentheus,  a  son  of  Agave,  another  sister  of  Semele. 
Pentheus  was  Cadmus's  s\iccessor  as  king  of  Thebes.  Being  opposed 
to  the  introduction  of  the  worship  of  Dionysus,  he  was  torn  in  pieces 
by  his  mother  and  Ino.  According  to  one  version  of  the  legend, 
he  had  concealed  himself  in  a  tree  in  order  to  witness  the  orgies 
of  the  Bacchantes.  According  to  another  version,  the  women  in 
their  frenzy  believed  him  to  be  a  wild  beast. 


NOTES  291 

14.  Hecuba.  The  wife  of  Priam,  king  of  Troy.  After  the  fall 
of  Troy  she  was  carried  away  by  the  Greeks  as  a  slave.  On  the 
way  to  Greece  her  daughter  Polyxena  was  torn  from  her  and  sacri- 
ficed upon  the  tomb  of  Achilles,  and  at  the  same  time  the  body 
of  her  son  Polydorus,  who  had  been  murdered,  was  washed  up  on  the 
seashore.  She  went  mad  with  grief,  and  was  changed  into  a  dog, 
and  leapt  into  the  sea.  See  Ovid,  Metam.  xiii,  404  ff.  Vergil's  allus- 
ions to  Hecuba  in  the  ^neid  are  merely  incidental,  and  do  not 
touch  the  events  referred  to  by  Dante. 

31.  Gianni  Schicchi.  A  Florentine  of  the  Cavalcanti  family, 
who  was  noted  for  his  powers  of  mimicry.  As  he  threw  off  his  own 
personality  in  counterfeiting  others,  so  in  his  punishment  he  is  out 
of  himself. 

37.  Myrrha.  The  daughter  of  Cinyras,  the  king  of  Cyprus. 
She  conceived  an  incestuous  passion  for  her  father,  and  accom- 
plished her  purpose  by  passing  herself  ofif  as  another  woman.  The 
story  is  told  by  Ovid,  Metam.  x,  298  ff. 

41.  that  other  one.     Gianni  Schicchi. 

43.  Buoso  Donati.  Of  Florence.  Sometimes  identified  with  the 
Buoso  of  Inf.  XXV.  The  story  is  that  with  the  aid  of  Buoso 's  son 
or  nephew,  Simone,  Gianni  Schicchi  first  smothered  Buoso,  and 
then  took  his  place  in  the  bed  and  dictated  a  will  in  favor  of  Simone, 
who  had  feared  that  the  money  would  be  bequeathed  to  charities. 
He  took  care  to  insert  in  the  wiU  clauses  containing  bequests  to 
himself,  among  which  was  "the  lady  of  the  stud,"  a  favorite  mare 
of  Buoso's. 

50.  fashioned  like  a  lute.  Dante  means  that  his  body  would 
have  resembled  a  lute  if  his  legs  had  been  cut  off  at  the  groin. 

63.  Master  Adamo.  Of  Brescia.  A  famous  coiner.  He  was 
employed  by  the  Florentines  to  coin  their  gold  florins,  and  is  sup- 
posed to  have  been  introduced  in  1252,  when  the  florins  were  first 
coined.  "The  florins,"  says  Villani,  "weighed  eight  to  the  ounce, 
and  on  one  side  was  the  stamp  of  the  lily,  and  on  the  other  of  St. 
John."  Adamo  alloyed  them  to  the  extent  of  three  carats,  so  that 
the  coins  contained  twenty-one  instead  of  twenty-four,  carats.  For 
this  he  was  burned  in  1281. 

66.  the  little  brooks.  Nothing  can  be  more  impressive  than  the 
contrast  of  the  flowing  streams  dashing  down  their  soft,  cold  chan- 
nels, with  the  thirsty  misery  of  the  poor  wretch.  Ruskin  says  that 
Adamo  remembers  the  hills  of  Romena  only  for  their  sweet  waters; 
but  Mr.  Freshfield  (Alpine  Journal,  vol.  x,  February,  1882)  calls 
attention  to  the  fact  that  in  many  mountain  districts  canale  is  a 
common  term  for  "a  valley,"  and  remarks  that  the  verdure  of  the 
hills  C '  the  verdant  hills' ')  and  their  cool,  soft  glens  form  an  essential 
part  of  the  picture. 

67.  Casentino.  A  district  in  Tuscany,  comprising  the  upper 
valley  of  the  Arno  and  the  slopes  of  the  Etruscan  Apennines. 

72,  73.  draws  occasion.  Adamo  means  that  the  place  where  he 
sinned,  with  its  fresh,  cool  streams,  is  made  the  instrument  of  his 
punishment  by  being  always  before  his  mind. 

74.  Romena.    A  village  in  Casentino,  on  the  Amo.    It  was 


292  THE  DIVINE  COMEDY 


the  dwelling  of  the  Conti  Guidi,  who  had  a  castle  there,  Romena, 
which  gave  name  to  the  place. 

76.  the  Baptist's  effigy.  "On  the  gold  florin  the  Baptist  was 
represented  standing  at  full  length,  with  his  raiment  reaching  to 
the  knee,  and  girt  about  the  loins,  his  hair  hanging  over  his  shoulders, 
and  his  head  surrounded  with  a  halo.  With  his  right  hand  he  is 
in  the  act  of  giving  the  benediction  aft-er  the  usage  of  the  Greek 
Church  {i.e.,  with  the  thumb  and  little-finger  joined,  and  the 
other  fingers  opened  wide).  In  his  left  hand  he  holds  a  staff  ter- 
minating in  a  cross,  surrounded  with  the  inscription,  **S.  Johannes 
B."     Orsini,  "History  of  the  Florentine  Coinage." 

78,  79.  Guido — Alessandro — their  brothers.  The  Guidi  were  one 
of  the  richest  and  most  powerful  families  of  Italy  during  the  eleventh, 
twelfth,  and  thirteenth  centuries.  They  became  lords  of  nearly 
the  whole  of  Romagna.  They  established  their  principal  seats  in 
the  Casentino,  but  had  also  large  possessions  on  the  other  side  of 
the  mountains.  In  the  thirteenth  century  they  occupied  important 
oflicial  positions  both  in  Romagna  and  Tuscany.  The  names  men- 
tioned in  this  line  are  names  of  Counts  of  Romagna,  the  unnamed 
brother  being  Aghinolfo.  It  was  at  the  instance  of  these  three  that 
Adamo  debased  the  florins. 

80.  Branda's  fount.  Commonly  referred  to  the  well-known 
fountain  at  Siena,  but  almost  certainly  a  fountain  of  the  same  name 
in  the  neighborhood  of  Romena,  the  scene  of  Adamo 's  crime.  Bas- 
sermann  says  that  it  is  on  the  southern  slope  of  the  hiU  of  Romena, 
choked  with  rubbish,  and  almost  dried  up. 

82.  the  maddened  shades.     Schicclii  and  Myrrha. 

89.  eleven  miles.     See  note  on  Inf.  xxix,  8. 

100.  the  deceitful  woman.     Potiphar's  wife.     Gen.  xxxix,  7fiF. 

101.  false  Sinon.  One  of  the  numerous  illustrations  of  Dante's 
habit  of  placing  side  by  side  examples  from  Scripture  and  from 

Erofane  or  mythical  histor}\  Sinon  allowed  himself  to  be  captured 
y  the  Trojans,  and  then,  by  a  false  story,  persuaded  them  to  admit 
within  the  city  the  wooden  horse  with  the  armed  Greeks  concealed 
inside.     The  story  is  told  in  Aen.  ii,  57  S. 

1 33.  Narcissus's  looking-glass.  A  clear  pool  in  which  one  might 
see  his  face  reflected.  The  story  of  Narcissus,  who  became  enamored 
of  his  own  image  which  he  saw  reflected  in  a  fountain,  is  told  by 
Ovid,  Metam.  iii,  407  ff. 

140.  as  he  is  who  dreams  of  his  own  hurt,  etc.  Dante's  simile 
is:  As  one  who  dreams  of  something  which  is  injuring  him,  and  in 
his  dream  wishes  that  he  might  be  only  dreaming,  which  really  is 
the  case,  so  I,  being  speechless  with  shame,  desired  to  excuse  mj^self, 
and  was  unaware  that  I  was  doing  so  by  my  very  inability  to  express 
myself.  In  other  words,  I  was  as  ignorant  of  the  fact  that  I  was 
making  the  best  possible  excuse,  as  the  dreamer  is  ignorant  of  the 
fact  that  he  is  dreaming. 

151.  if  fortune  chance  again  to  find  thee,  etc.  Vergil  has  to 
reprove  Dante  again  for  a  similar  fault.     Purg.  v,  10  ff. 


NOTES  293 


CANTO  XXXI 

In  the  ninth  and  last  circle,  Treachery,  the  worst  form  of  Fraud, 
is  punished. 

1.  first  wounded  me.  Referring  to  Vergil's  rebuke  at  the  close 
of  the  preceding  canto. 

4.  Achilles's  lance,  etc.  The  father  of  Achilles  was  Peleus.  The 
healing  property  of  the  lance  appears  in  the  story  of  Telephus,  the 
son  of  Hercules,  who  attempted  to  prevent  the  Greeks  from  landing 
on  the  coast  of  Mysia.  Dionysus  caused  him  to  stumble  over  a  vine, 
whereupon  he  was  wounded  by  Achilles.  Being  informed  by  an 
oracle  that  the  wound  could  be  cured  only  by  the  wounder,  Telephus 
applied  to  Achilles  and  was  cured  by  means  of  the  rust  of  the  spear 
which  had  wounded  him.  That  the  spear  formerly  belonged  to  Peleus 
is  related  by  Homer  as  follows :  '  *  The  spear — which  indeed  no  other 
of  the  Greeks  could  brandish,  but  Achilles  alone  knew  how  to  wield 
it,  a  Pelian  ash  which  Chiron  had  given  to  his  sire  from  the  top  of 
Pelion."  II.  xvi,  143.  Dante  did  not  obtain  the  story  from  Homer, 
whom  he  did  not  know,  but  quite  probably  from  a  passage  in  Ovid's 
"Remedia  Amoris,"  1.  48,  in  which  occur  the  words  *'Pelias  hasta," 
meaning  "the  spear  from  Pelion,"  but  which  Dante  supposed  to 
mean  "the  spear  of  Peleus."  Versions  of  the  story  appeared  in 
several  thirteenth  century  poets,  in  which  the  lance  of  Peleus  was 
referred  to.  Several  extracts  from  these  poems  are  given  by  Mr, 
Paget  Toynbee  in  the  article  "Peleus"  in  his  "Dante  Dictionary." 

10,  11.  less  than  night  and  less  than  day.  A  dim,  gloomy 
atmosphere. 

15,  16.  which  counter  to  itself  pursued  its  course.  He  means 
that  the  sound  of  the  horn  turned  his  eyes  toward  the  place  from 
which  it  proceeded,  and  that  as  the  sound  came  toward  him,  his 
eyes  followed  a  contrary  direction — toward  the  source  of  the  sound. 

18.  Charlemagne,  etc.  At  the  Diet  of  Paderbom  in  777,  some 
Mahometan  ambassadors  appeared  before  Charlemagne,  professing 
to  represent  the  large  number  of  Arabs  in  Spain  who  were  dissatisfied 
with  the  rule  of  their  Emir  at  Cordova,  and  desired  to  put  them- 
selves under  Charlemagne's  protection,  and  to  secure  his  aid  in 
throwing  off  the  Emir's  rule.  Charlemagne  accepted  the  offer,  and 
in  the  spring,  two  armies,  made  up  from  all  the  people  in  alliance 
with  the  Franks,  started  for  the  South,  one  going  by  the  way  of 
the  Mediterranean,  the  other  over  the  Pyrenees  and  through  the 
valley  of  Roncesvalles.  Both  armies  were  to  meet  at  Zaragoza, 
which  was  to  be  immediately  surrendered.  They  found  the  city, 
however,  closed  against  them.  The  Spanish  expedition  was  a 
failure.  On  Charlemagne's  return,  the  Basques  fell  upon  his  rear- 
guard in  the  pass  of  Roncesvalles,  and  annihilated  the  whole  body 
together  with  their  leader,  Roland  or  Orlando,  Charlemagne's  nephew 
and  Count  of  the  March  of  Brittany.  It  was  said  that  Roland  in 
his  extremity  sounded  a  bugle-call,  which  was  heard  by  Charlemagne 
eight  miles  away.  There  is  also  a  legendary  account  to  the  effect 
that  Roland  and  his  force  were  destroyed  by  an  army  of  Saracens, 


294  THE  DIVINE  COMEDY 

through  the  treacherj'  of  Ganelon,  Roland's  step-father.  Ganelon 
is  mentioned  in  Inf.  xxxii,  131. 

19.  the  sacred  squadron.  So  called  because  of  their  holy  war 
against  the  Moslem  infidels. 

33.  giants.  It  does  not  appear  why  Dante  places  the  giants  at 
the  entrance  of  the  circle  of  traitors.  Their  crime  was  that  of 
violence  against  the  gods,  and  one  would  expect  to  find  them  in 
the  third  round  of  the  seventh  circle,  ^dth  Capaneus.  See  Inf.  xiv, 
45  fif.  The  reference  to  Aen.  vi,  580-581  does  not  seem  to  furnish 
a  sufficient  explanation. 

42.  Monte reggione.  Montereggione  is  a  Sienese  castle  about 
eight  miles  from  Siena,  situated  on  the  crest  of  a  low  hiU,  and  sur- 
rounded with  a  wall  surmounted  by  fourteen  towers  about  a  hundred 
feet  apart,  round  the  entire  circuit.  Bassermann  says  that  most 
of  the  towers  are  not  much  higher  than  the  wall,  having  been  worn 
down  by  the  lapse  of  time. 

53,  54,  if — she  repents  her  not  of  elephants,  etc.  When  Dante 
says  that  Nature  did  well  in  ceasing  to  produce  such  monsters,  it 
might  be  answered :  *  *  Why  not  then  cease  to  create  other  monsters, 
such  as  elephants  and  whales?"  Dante  anticipates  this  by  saying 
that  the  giants  were  more  dangerous  because  possessed  of  reason. 

60.  Saint  Peter's  pine-cone.  A  colossal  pine-cone  of  bronze, 
which  once  crowned  the  Mausoleum  of  Hadrian  (Castle  of  St.  Angelo). 
If  Dante  was  among  the  Jubilee-pilgrims  in  1300  (see  Inf.  xviii,  30, 
31),  he  would  have  found  this  cone  in  a  portico  in  front  of  St. 
Peter's.  Toward  the  end  of  the  fifth  century  it  was  placed  upon 
the  metal  cover  of  a  fountain  erected  for  the  use  of  pUgrims  in  the 
fore-court  of  the  Vatican  basilica.  It  now  stands  in  one  of  the 
Vatican  gardens,  Giardino  della  Pigna.  It  is  seven  and  a  half  feet 
high. 

65.  three  Prisons.  Friesland  was  one  of  the  northernmost 
provinces  of  HoUand,  and  its  inhabitants  were  renowned  for  their 
great  stature.  The  entire  height  of  the  giant  according  to  Dante's 
reckoning  was  about  seventy  feet. 

70.  Rafel  mai  amech,  etc.  This  is  mere  gibberish.  In  11.  81, 
82,  Dante  distinctly  says  that  it  is  "known  to  no  one."  It  is  ap- 
propriate to  Nimrod,  to  whom  tradition  ascribed  the  building  of  the 
tower  of  Babel,  and  who  is  therefore  associated  with  the  confusion 
of  tongues.  In  Purg.  xii,  33-36,  he  is  sculptured  on  the  wall  of 
the  first  terrace,  standing  bewildered  at  the  foot  of  the  tower;  and 
in  Par.  xxvi,  124-125,  he  is  mentioned  in  connection  with  the  tower 
of  Babel  and  the  confusion  of  tongues.  See  also  De  Vulg.  El.  i, 
7,26. 

72.  thy  horn.  Assigned  to  Nimrod  as  *'a  mighty  hunter." 
Gen.  X,  9. 

77.  he  doth  accuse  himself.  By  his  jargon  and  his  mental  eon- 
fusion  (U.  70,  75). 

78.  Nimrod.  In  Scripture  Nimrod  is  not  represented  either  as 
a  giant  or  as  the  founder  of  the  tower  of  Babel.  Dante,  no  doubt, 
drew  these  representations  from  such  authors  as  St.  Augustine, 
Isidore,  Orosius,  Hugh  of  St,  Victor,  and  Brunetto  Latini. 


NOTES  295 


82.  such  as  his  to  others.  Scartazzini's  query  is  pertinent: 
Why  did  Vergil  speak  to  Nimrod  if  he  knew  that  his  words  would 
not  be  understood? 

95.  Ephialtes.  Son  of  Neptune.  With  his  brother  Otus  he 
made  war  upon  the  Olympian  gods,  and  attempted  to  pile  Ossa 
on  Olympus,  and  Pelion  upon  Ossa.  See  Verg.  Georg.  i,  280-283. 
Another  case  in  which  Dante  places  side  by  side  a  Scriptural  and 
a  mythical  personage. 

99.  Briareus.  Or  Aegaeon,  another  of  the  giants  who  assailed 
Olympus.  He  was  slain  by  Jupiter  with  a  thunderbolt,  and  buried 
under  Mt.  Aetna.  Vergil  represents  him  as  having  a  hundred  arras 
and  fifty  heads.     Aen.  x,  565-568.     See  Purg.  xii,  28. 

101.  Antaeus.  Son  of  Neptune  and  the  Earth.  He  was  invincible 
so  long  as  he  remained  in  contact  with  his  mother,  Earth.  Hercules 
discovered  the  secret  of  his  strength,  lifted  him  into  the  air,  and 
crushed  him. 

102.  speaks  and  is  unfettered.  In  contrast  with  Nimrod  he 
speaks,  and  he  is  unchained  because  he  was  not  present  at  the  battle 
of  the  giants  with  the  gods.  Dante  refers  to  him,  De  Mon.  ii,  8,  10; 
Conv.  iii,  3,  7.  He  draws  the  story  principally  from  Lucan,  Phars. 
iv,  587-633. 

109.  Ephialtes — shook  himself.  Ephialtes  was  enraged  at 
being  described  as  less  fierce  than  Briareus. 

115.  116.  the  vale  favored  by  fortime.  The  valley  of  Bagrada 
near  Zama,  in  Numidia,  on  the  borders  of  the  Carthaginian  ter- 
ritory, where  Hannibal  was  defeated  by  Scipio,  B.C.  202.  According 
to  Lucan,  Phars.  iv,  587  ff.,  Antaeus  had  his  abode  there.  For  the 
epithet  of  the  valley,  "favored  by  fortune,"  comp.  Inf.  xxviii,  8. 

116.  Scipio.     Known  as  Africanus  Major. 

117.  an  heir  of  fair  renown.  The  battle  of  Zama  brought  the 
second  Punic  war  to  an  end,  and  caused  the  submission  of  the  Car- 
thaginians. 

119.  a  thousand  lions.  Lucan  relates  that  Antaeus  dwelt  in  a 
cave  in  the  valley  of  Bagrada,  lying  hidden  beneath  a  high  rock, 
and  devouring  lions  which  he  had  captured.     Phars.  iv,  585  ff. 

123.  the  victory  would  have  won.  Vergil  flatters  Antaeus  in 
order  to  secure  his  services  in  conveying  Dante  and  himself  into  the 
ninth  circle. 

126.  Tityus — ^Typhon.  Antaeus's  brother-giants,  an  appeal  to 
his  jealousy. 

127.  that  which  here  is  craved.  Remembrance  and  repute  among 
the  living. 

139.  the  Carisenda.  One  of  the  leaning  towers  at  Bologna.  It 
stands  not  far  from  the  tower  of  the  Asinelli,  also  leaning,  which  is 
more  slender  and  graceful,  and  is  considerably  higher.  The  Carisenda 
is  a  hundred  and  thirty  feet  high,  and  leans  eight  feet  from  the  perpen- 
dicular to  the  south,  and  three  feet  to  the  east.  Dante's  illustration 
is  most  felicitous.  When  a  cloud  passes  over  the  tower  in  a  direction 
opposite  to  the  inclination,  it  seems  to  the  spectator  as  though  the 
structure  were  falling.  Such  was  Dante's  impression  as  Antaeus 
bent  toward  him. 


296  THE  DIVINE  CX)MEDY 

149.  as  in  a  ship  a  mast.  Antaeus,  rising  again  to  his  erect 
position,  is  compared  to  a  mast  which  has  been  temporarily  lowered 
and  is  again  set  upright. 


CANTO  XXXII 

The  ninth  circle  is  devoted  to  Treachery,  the  worst  type  of  Fraud. 
It  is  di\'ided  into  four  rounds.  The  first  is  devoted  to  traitors  to 
their  own  kindred,  and  is  named  Caina,  after  Cain  the  murderer  of 
his  brother.  In  the  second  are  punished  traitors  to  their  country, 
city,  or  party.  This  is  named  Antenora,  from  the  Trojan  Antenor, 
who,  in  the  Middle  Ages,  was  universally  regarded  as  the  betrayer 
of  Troy  to  the  Greeks.  The  third  round  contains  traitors  to  guests 
and  companions,  and  is  named  Tolomea,  after  Ptolemy,  the  son  of 
Abubus,  the  captain  of  Jericho,  who  treacherously  murdered  Simon, 
the  third  of  the  Maccabean  princes,  with  two  of  his  sons  at  a  banquet, 
B.C.  135.  For  the  story  see  1  Mace,  xvi,  11-17.  In  the  fourth 
round  are  those  who  have  betrayed  benefactors.  This  is  named 
Giudecca,  after  Judas  Iscariot,  and  here  Lucifer  is  eternally  fixed  at 
the  centre  of  the  earth.  These  spirits  are  wedged  iu  the  ice  which 
forms  the  sloping  floor  of  the  pit,  and  which  is  made  by  the  freezing 
of  the  river  Cocytus. 

4.  all  thrust.  All  the  rocky  walls  and  dechvities  of  Hell  converge 
to  tills  centre  and  abut  upon  it. 

express  the  juice  of  my  conception.  I  would  fully  express  what 
is  in  my  mind. 

12.  those  dames.     The  Muses. 

Amphion.  Amphion,  the  son  of  Zeus.  He  and  his  brother 
Zethus  marched  against  Thebes,  and  after  capturing  it,  fortified  it 
with  a  wall.  Amphion  had  received  a  lyre  from  Hermes  (Mercury), 
on  which  he  played  so  skilfully  that  the  stones,  of  their  own  accord, 
moved  down  from  Mt.  Cithaeron  and  arranged  themselves  in  the 
wall. 

20.  the  lofty  wall.  The  rocky  bank  which  encloses  the  ninth 
circle. 

23.  the  wretched,  weary  brothers.  The  two  mentioned  in  1.  44. 
Comp.  Purg.  X,  123-124. 

29.  Tanais.     The  river  Don. 

31.  Tambemich.  This  mountain  cannot  be  decisively  identified. 
By  different  commentators  it  has  been  placed  in  Armenia,  Dalmatia, 
Sclavonia,  etc.  Some  modem  authorities  incline  to  the  Javomick, 
near  the  grottoes  of  Adelsberg  in  Camiola. 

32.  Pietrapana.  Identified  by  some  with  Pania,  one  of  the  peaks 
of  the  Alpe  Apuana,  in  the  northwest  of  Tuscany.  The  region  of 
Lunigiana  is  known  to  have  been  familiar  to  Dante.  In  the  little 
town  of  Mulazzo,  north  of  Spezia  and  near  the  river  Magra,  Dante 
resided  for  a  time  in  1306,  with  Franceschino  Malaspina,  to  whose 
family  Lunigiana  belonged.  A  tower  is  to  be  seen  on  the  height  on 
which  Mulazzo  stood,  which  is  popularly  known  as  "Dante's  tower,'' 


NOTES  297 

and  there  is  a  house  at  the  foot  of  the  tower  in  which  Dante  is  said 
to  have  Hved.  Bassermann,  whose  chapter  on  Lunigiana  (' '  Dante's 
Spuren  in  ItaHen")  will  well  repay  reading,  says  that  Mulazzo  affords 
a  wonderful  view  of  the  Apuan  Alps,  with  the  giant  peak  of  Pietra 
Apuana  rising  prominently  behind  the  lower  hills. 

33.  crack.  In  the  original,  eric,  evidently  chosen  to  suggest  the 
cracking  of  the  ice. 

38.  39.  to  the  note  of  storks.  Their  teeth  were  chattering  with 
the  cold,  and  sounding  like  the  chattering  of  storks.  The  stork 
makes  a  loud  noise  with  the  clattering  of  its  mandibles. 

39.  his  face  turned  down.  Through  shame;  desiring  to  avoid 
recognition. 

40.  from  their  mouth  the  cold,  etc.  The  chattering  of  the  teeth 
was  evidence  of  the  cold,  and  the  tears  of  the  inward  anguish. 

49,  50.  only — within  were  moist.  Up  to  this  point  no  tears  had 
been  shed.  The  eyes  were  moist  or  soft  only  within.  When  the 
tears  gushed  forth  they  were  immediately  congealed. 

58.  mirror  thyself  in  us.     Lit.  "gaze  as  if  looking  at  a  mirror." 

60.  Bisenzio.  A  river  of  Tuscany  falling  into  the  Amo,  about 
ten  miles  below  Florence.  In  its  valley  were  the  castles  of  the 
Alberti  of  Mangona. 

61.  from  one  body  issued  forth.  The  two  sons  of  Alberto  were 
named  Napoleone  and  Alessandro.  The  castle  of  Mangona  right- 
fully belonged  to  the  latter,  and  was  seized  by  his  brother.  The 
Florentines  expelled  Napoleone,  who  was  a  Ghibelline.  When  the 
Guelfs  returned  to  Florence  in  1267,  Alessandro  was  reinstated.  It 
was  said  that  in  a  subsequent  quarrel  the  brothers  kiUed  each  other. 

63,  64.  set  in  jelly.     Ironical  for  "fixed  in  the  ice." 

65.  cloven  with  a  single  blow.  Mordred,  the  son  of  the  mythical 
King  Arthur  of  Britain,  who  was  slain  by  his  father  when  he 
treacherously  attempted  his  life.  The  legend  goes  that  the  wound 
made  by  Arthur's  sword  was  so  wide  that  the  sunlight  appeared 
through  it.  Dante's  acquaintance  with  the  Arthurian  legends  is 
shown  by  his  repeated  references  to  them.  See  Inf.  v,  67, 129, 137; 
Par.  xvi,  15;  Conv.  iv,  28,  3. 

66.  Focaccia.  A  member  of  the  Cancellieri  family  of  Pistoia. 
Accounts  about  him  vary,  but  he  appears  to  have  been  prominently 
concerned  in  the  feud  between  the  two  branches  of  the  Cancellieri 
family  which  resulted  in  the  Black  and  White  factions.  He  is  said 
to  have  been  guilty  of  at  least  two  treacherous  murders,  and  of 
cutting  off  the  hand  of  a  young  cousin  for  an  insult  to  his  imcle, 
Focaccia's  father.  The  family  feud  finally  reached  such  propor- 
tions that  the  Pistoians  called  in  the  aid  of  Florence;  and  the 
White  and  Black  factions  were  thus  introduced  in  due  time  into 
Florence  itself. 

69.  Sassol  Mascheroni.  A  Florentine  who  murdered  his  nephew, 
or,  as  some  say,  his  brother,  for  the  sake  of  his  inheritance;  for 
which  crime  he  was  rolled  through  the  streets  of  Florence  in  a  cask 
full  of  nails,  and  was  afterward  beheaded. 

73.  Camicione  del  Pazzi.  Known  only  for  his  treacherous  murder 
of  his  kinsman  TJbertino.     The  Pazzi  were  a  Tuscan  family.     Their 


298  THE  DIVINE  COMEDY 

possessions  lay  between  Florence  and  Arezzo.  They  were  partly 
Guelf  and  partly  Ghibelline,  but  finally  identified  themselves  with 
the  Whites. 

74.  Carlino.  One  of  the  Pazzi  family.  During  the  siege  of 
Pistoia  by  the  Florentine  Blacks  and  the  Lucchese  in  1302,  he 
held  the  castle  of  Piantravigne  in  the  Valdamo  for  the  Whites  of 
Florence,  but  for  a  bribe  dehvered  it  into  the  hands  of  the  Blacks. 
This  act  had,  of  course,  not  occurred  at  the  date  of  Dante's  vision, 
1300;  but  Dante  places  him  in  Caina  by  anticipation,  by  making 
Camicione  say  that  he  is  expecting  him.  The  crime  properly  belongs 
in  the  next  round. 

75.  extenuate  my  guilt.  Carlino's  crime  was  so  much  worse  than 
Camicione's  that  it  would  make  the  latter  appear  trivial,  and  so 
excuse  him. 

76.  purple.  There  is  some  controversy  about  the  meaning.  It 
probably  means  "livid"  or  "purple"  with  the  cold;  but  others 
explain  "grinning  hke  a  dog." 

82.  if  it  were  will.  It  is  significant  that  Dante  hints  that  his 
act  may  have  been  intentional.  Not  "the  will  of  God,"  or  "of 
Heaven,"  but  his  own  will.  Dante  utters  no  expression  of  regret. 
Comp.  Inf.  xiii,  44,  52-54. 

86,  87.  for  Montaperti — to  aggravate  the  vengeance.  To  aggra- 
vate the  retribution  which  I  am  suffering  for  my  treason  at  Monta- 
perti. It  is  Bocca  degli  Abati  who  is  speaking.  At  the  battle  of 
Montaperti  in  1260  (see  note  on  Inf.  x,  88),  he  appeared  on  the  side 
of  the  Florentine  Guelf s;  but  at  a  critical  moment  treacherously 
cut  off  the  hand  of  the  Florentine  standard-bearer,  thus  creating  a 
panic,  which  resulted  in  the  defeat  of  the  Guelfs. 

97,  98.  if  thou  wert  living,  all  too  hard,  etc.  Bocca  supposes 
that  Dante  is  a  danmed  spirit,  and  is  surprised  that  a  shade  can 
inflict  a  blow  that  would  be  hard,  even  if  he  were  alive. 

101, 102.  I  crave  the  contrary.  Bocca  has  no  desire  to  be  remem- 
bered in  the  world,  but  he  has  a  fiendish  pleasure  in  revealing  the 
names  of  his  companions,  who,  like  himself,  wish  to  remain  un- 
recognized. See  1.  115.  This  is  a  kind  of  treachery  appropriate  to 
the  circle  in  which  he  is  punished. 

123,  124.  who  had  his  tongue — so  prompt.  The  one  who  had 
called  Bocca  by  name,  1.  115, 

124,  125.  he  is  lamenting  the  silver  of  the  French.  Buoso  da 
Duera,  a  Ghibelline  of  Cremona,  and  one  of  the  heads  of  the 
party.  Being  instructed  by  Manfred  in  1265  to  block  the  pas- 
sage of  Charles  of  Anjou,  who  was  on  his  way  to  take  possession 
of  the  kingdom  of  Naples,  it  was  charged  that  he  connived  at 
Charles's  advance,  having  been  bribed  by  the  French.  For  this 
act  the  whole  of  the  Duera  line  in  Cremona  was  exterminated  by 
its  citizens. 

127.  in  the  cool.  The  phrase  is  a  popular  one  for  being  in  a 
predicament. 

128,  129.  him  of  Beccheria.  Tesauro  de'  Beccheria  of  Pavia, 
Abbot  of  Vallombrosa,  and  legate  of  Pope  Alexander  IV  in  Florence. 
After  the  expulsion  of  the  Ghibellines  from  Florence  in  1258,  he  was 


NOTES  299 

put  to  torture  and  beheaded  by  the  Florentines  on  the  charge  of 
having  intrigued  with  the  GhibelHnes. 

131.  Gianni  de'  Soldanier.  A  Ghibelline  of  Florence.  When 
Florence  rose  against  the  Ghibellines  and  expelled  them,  Gianni  took 
sides  against  his  own  party. 

Ganelon.  According  to  the  version  of  the  legend  which  ascribes 
Charlemagne's  disaster  at  Roncesvalles  to  the  Saracens  (see  note 
on  Inf.  xxxi,  18),  the  destruction  of  Charlemagne's  rear-guard  and 
the  death  of  Roland  were  brought  about  by  the  treachery  of  Gane- 
lon, Roland's  step-father.  The  story  is  that  Charlemagne,  hearing 
the  horn  of  Roland,  proposed  to  turn  back  and  aid  him,  but  was 
dissuaded  by  Ganelon,  who  said  that  Roland  often  sounded  his 
horn  merely  for  amusement. 

132.  Tribaldello.  Of  Faenza,  a  Ghibelline  who,  in  order  to  avenge 
a  personal  affront,  treacherously  opened  the  city  gates  in  1280  to 
the  Bolognese  Guelfs.     His  name  is  sometimes  given  as  Tebaldello. 

140.  Tydeus — Menalippus.  Tydeus  was  one  of  the  companions 
of  Adrastus  in  the  expedition  of  the  seven  against  Thebes  (see  note 
on  Inf.  xxvi,  57,  58).  He  was  mortally  wounded  by  Menalippus. 
Athen^  appeared  with  a  remedy  which  was  to  make  him  immortal; 
but  finding  him  gnawing  the  head  of  Menalippus,  she  left  him  in 
disgust. 


CANTO  XXXIII 

14.  Count  Ugolino.  Ugolino  della  Gherardesca,  Count  of  Dono- 
ratico,  was  born  in  the  first  half  of  the  thirteenth  century.  He  was 
the  father  of  five  sons  and  three  daughters.  His  third  daughter 
was  the  wife  of  Giovanni  Visconti,  Judge  of  Gallura,  one  of  the  four 
judicial  districts  into  which  Sardinia  was  divided  by  the  Pisans  to 
whom  the  island  belonged  in  Dante's  time.  Owing  to  complicity  with 
a  movement  to  shift  the  Sardinian  administration  from  Ghibelline 
to  Guelf  hands,  Ugolino's  son-in-law,  Giovanni  Visconti,  was  expelled 
from  Pisa  and  declared  a  rebel,  and  Ugolino  himself  was  imprisoned. 
Upon  his  liberation  he  formed  a  league  with  the  Lucchese  and  the 
Guelfs  of  Tuscany,  and  forced  the  Pisans  to  restore  the  exiles,  among 
whom  was  young  Nino  Visconti,  the  son  of  Giovanni.  Ugolino 
succeeded  so  well  in  conciliating  the  Pisans,  that  he  was  chosen 
captain  of  the  force  against  the  Genoese  with  whom  the  Pisans  had 
been  at  war  since  1282.  In  the  bloody  naval  battle  of  Meloria, 
August  6th,  1284,  the  power  of  Pisa  was  forever  broken.  In  some 
quarters  Ugolino  was  suspected  of  having  treacherously  brought 
about  this  disaster  by  an  untimely  retreat.  The  Florentines,  Lucchese, 
and  other  Guelfs  now  plotted  to'  bring  Pisa  back  to  the  Guelf  party. 
Ugolino,  knowing  the  impossibility  of  thwarting  their  design  by 
force,  had  recourse  to  cunning.  He  made  over  to  the  Guelfs  of 
Florence  the  strongholds  of  S.  Maria  in  Monte,  Fucecchio,  Castel- 
franco,  and  S.  Croce  e  Montecalvoli ;  and  to  the  Guelfs  of  Lucca, 
Bientina,  Ripafratta,  and  Viareggio.  By  this  means  he  saved  Pisa 
from  extermination ;  for  when  the  Genoese  arrived  at  Porto  Pisano 


300  THE  DIVINE  COMEDY 

with  a  large  fleet,  the  Florentines  and  Lucchese,  won  over  by  the 
gift  of  Ugolino,  refused  to  co-operate  with  them  by  a  land  assault 
upon  Pisa.  Before  the  arrival  of  this  fleet,  Ugolino  had  been  elected 
Podest^  for  ten  years.  His  young  nephew,  Nino  Visconti,  whom  he 
associated  with  himself,  was  ambitious  to  have  too  large  a  part  in 
the  administration,  and  a  quarrel  was  the  result.  The  Guelfs 
became  divided,  Ugolino  leading  one  faction  and  Nino  the  other. 
Ugolino  then  intrigued  with  the  GhibeUines,  whose  leader  was  Arch- 
bishop Ruggieri  degli  LlDaldini,  and  with  his  aid  succeeded  in  ex- 
pelling Nino.  Having  thus  succeeded  in  weakening  the  Guelfs, 
Iluggieri  turned  upon  Ugolino  and  succeeded  in  imprisoning  him 
with  his  two  sons  and  two  grandsons.  After  eight  months  in  prison 
they  were  left  to  starve. 

It  is  difficult  to  decide  why  Ugolino  is  condenmed  to  Antenora. 
Not  for  treachery  at  Meloria,  for  the  charge  is  without  proof,  and 
is  disproved  by  the  fact  that,  soon  after  the  battle,  Ugolino  was 
elected  Podest4.  Not  for  the  gift  of  the  strongholds,  for  by  means 
of  that,  the  city  was  saved.  It  may  have  been  that  Dante  regarded 
Ugolino  and  Ruggieri  as  alike  traitors  to  their  own  city  in  conspiring 
to  expel  Nino  Visconti.  Each  was  attempting  to  further  his  own 
interests  at  the  expense  of  the  community  Nino  appears  in  Pur- 
gatory, in  the  Valley  of  the  Princes.     Purg.  viii,  54. 

It  will  be  noticed  that  Ugolino  says :  *  *  I  was  the  Count  Ugolino." 
Dante  habitually  speaks  of  permanent  conditions,  such  as  name  and 
personality,  in  the  present  tense.  For  transient  conditions,  such  as 
residence  or  title,  he  uses  the  past.  A  striking  instance  is  fovmd  in 
Purg.  V,  93.     See,  also.  Par.  vi,  10. 

23.  cage.     The  Italian  muda  is  akin  to  the  English  mew. 

24.  "Hunger."  The  tower  was  originally  called  "the  Tower  of 
the  Gualandi  at  the  Seven  Streets."  The  Gualandi  were  a  noble 
GhibeUine  family  of  Pisa.  The  tower  was  situated  in  what  is  now 
the  Piazza  dei  Cavalieri,  upon  which  seven  streets  open  from  dif- 
ferent directions.  It  received  later  the  name  of  "the  Tower  of 
Hunger."  It  was  destroyed  in  the  seventeenth  century.  Basser- 
mann  says  that  the  horrible  character  of  the  place  may  be  inferred 
from  a  document  in  the  Pisan  archives,  according  to  which  the 
removal  of  the  prison  was  resolved  upon  in  1318,  on  the  ground  that 
it  was  too  near  the  "House  of  the  Elders,"  to  whom  it  was  offensive 
by  its  foul  odor;  and  that  it  was  so  confined  and  devoid  of  all  con- 
veniences, that  prisoners  died  before  their  time. 

25.  others  yet  must  be  confined.  Ugolino  anticipates  that  the 
political  dissensions  in  Pisa  will  cause  the  imprisonment  of  others. 

29.  this  man.     Ruggieri. 

30.  the  wolf  and  whelps.  Ugolino  and  his  sons  and  grandsons.  It 
has  been  suggested  that  Ugolino  in  the  dream  is  represented  by  the 
wolf,  because  he  was  a  Guelf,  the  name  Guelf  being  originally  Welf 
(see  note  on  Inf.  xi,  62).  The  evidence,  however,  is  not  satisfactory 
that  "throughout  the  Commedia  the  Wolf  is  symbolical  of  the 
Guelf  party"  (see  Mr.  Paget  Toynbee's  "Dante  Dictionary,"  under 
"Guelfi");  nor  that  Dante  thought  of  "Guelf"  as  derived  from 
"welf." 


NOTES  301 

31.  the  mountain.    Monte  San  Giuliano,  between  Pisa  and  Lucca. 

34,  35.  Gualandi,  Sismondi,  Lanfranchi.  Three  leading  Ghibel- 
Une  famines  employed  with  their  attendants  ("hounds")  as  the 
Archbishop's  agents. 

47.  by  reason  of  his  dream.  Apparently  the  sons  also  had  dreamed 
of  starvation. 

78,  79.  stronger  than  my  sorrow  proved  my  fasting.  The  mean- 
ing is  that  the  want  of  food  killed  him.  The  horrible  suggestion  has, 
however,  been  found  in  the  words,  that  Ugolino  fed  upon  his  dead 
children,  which  is  most  improbable.  Mr.  William  W.  Vernon 
("Readings  on  the  Inferno  of  Dante")  says,  very  sensibly:  "The 
Count  had  seen  the  last  of  his  children  drop  off  between  the  fifth  and 
sixth  days.  His  own  vital  powers,  though  not  extinct,  are  so  much 
impaired  that  he  is  only  able  to  crawl  along  and  feel  their  dead  bodies, 
his  sight  being  gone.  He  is  in  no  condition  to  have  the  physical 
power  to  commit  the  deed  of  cannibal  voracity  that  some  of  the 
modem  commentators  have  attempted  to  impute  to  him.  He  simply 
lingers  on  for  two  days  in  the  extremity  of  weakness,  and  then  he 
says :  '  the  want  of  food  was  more  efficient  than  the  anguish  of  heart 
that  had  kept  me  alive  longer  than  my  sons.'  " 

The  word  digiuno  is  not  "hunger,"  but  "abstinence  from  food," 
which  impairs  the  strength,  rather  than  the  desire  for  food,  which 
impels  one  to  seize  even  upon  that  from  which  nature  recoils. 

Neither  Villani,  nor  Buti,  the  commentator  of  the  fourteenth 
century,  who  was  a  Pisan,  makes  any  mention  of  a  horror  which,  if  it 
had  occurred,  must  have  been  generally  known.  Buti  says  that 
after  eight  days  the  bodies  were  taken  out  dead,  and  says  nothing 
about  their  mutilation. 

84.  the  si  is  heard.  Si,  "yes."  Dante  distinguishes  French, 
Spanish,  and  Italian  by  the  particle  of  affirmation:  in  Spanish,  oc, 
in  French  oil,  in  Italian  si.  See  De  Vulg.  El.  i,  8.  Oc  is  hoc  est; 
oil  is  hoc  illud  est,  ouill,  oui;  si  is  sic  est. 

86.  the  Caprara  and  Gorgona.  Two  small  islands  in  the  Mediter- 
ranean. Capraia  or  Caprara  is  about  twenty  miles  east  of  the  north- 
ern point  of  Corsica.  Gorgona  is  farther  north,  about  twenty  miles 
southwest  of  Leghorn.  Gorgona  is  to  be  seen  directly  in  front  of 
the  mouth  of  the  Arno,  and  Caprara  is  visible  arTittle  to  the  south. 

90.  betrayal  of  thy  fortresses.     See  note  on  1.  14. 

92.  their  youthful  age.  Hardly,  as  Villani,  "young  and  innocent 
boys  ' ' ;  but  Dante  uses  the  words  of  youth.  One  of  them  at  least 
is  known  to  have  been  married.  Only  Anselmuccio  appears  to  have 
been  under  age. 

93.  Uguccione  and  Brigata.  Uguccione  was  Ugolino 's  fifth  son. 
Nino  il  Brigata  was  his  grandson. 

94.  the  two  others.  Anselmuccio,  Ugolino's  grandson,  and 
Gaddo  his  son. 

95.  still  farther  on.     Into  the  third  round,  Tolomea. 

97.  not  downward  turned.  In  Caina  the  damned  are  fixed  in 
ice  up  to  the  head,  keeping  their  faces  downward.  See  Inf.  xxxii, 
39,  57.  In  Antenora  also  they  are  encased  in  ice  to  their  head,  but 
do  not  seem  to  have  their  heads  inclined.     In  Tolomea  they  lie 


302  THE  DIVINE  CX)MEDY 

on  their  backs  with  their  face  upward,  and  with  only  their  face  out 
of  the  ice.     In  Giudecca  they  are  entirely  covered. 

98,  99.  weeping  forbids  weeping.  The  frozen  tears  prevent 
their  shedding  tears. 

109.  all  vapor  at  an  end.  Wind  being  caused  by  exhalations 
produced  by  heat,  and  there  being  no  sun  to  produce  exhalations, 
Dante  asks  how  there  can  be  wind  in  that  place. 

114,  115.  the  final  place  has  been  assigned  to  you.  The  speaker 
supposes  that  both  the  poets  are  dead  and  on  their  way  to  the  lowest 
round, 

122.  down  to  the  bottom  of  the  ice.  Dante  is  intentionally  de- 
ceiving the  spirit.  He  does  not  mean  to  keep  his  agreement  (see  11. 
154-155),  and  he  so  frames  his  words  that  they  cannot  bind  him. 
He  is  going  to  the  bottom  of  Hell  in  any  case. 

123.  Friar  Alberigo.  Of  Faenza.  One  of  the  Jovial  Friars  (see 
note  on  Inf.  xxiii,  105)  in  1267.  Ha\dng  in  a  dispute  received  a 
blow  from  his  younger  brother,  Manfred,  Alberigo,  some  time  later, 
invited  Manfred  and  one  of  his  sons  to  a  banquet  at  his  house.  The 
repast  being  finished,  he  called  out:  "Bring  the  fruit!"  at  which 
some  assassins  came  from  their  hiding-place  and  killed  both  Man- 
fred and  his  son.  "The  evil  fruit  of  Frate  Alberigo"  passed  into  a 
proverb. 

125.  for  a  fig  get  back  a  date.  I  received  a  large  return  for  my 
crime.     In  Italy  dates,  at  that  time,  were  more  expensive  than  figs. 

126.  art  thou  already  dead?  Dante  is  surprised  to  find  here  one 
whom  he  supposed  to  be  stiU  hving.  Alberigo  was  not  yet  dead  in 
1300,  the  date  of  the  vision. 

128.  no  knowledge  I  receive.     See  note  on  Inf.  x,  101  ff. 

129.  such  privilege.  Mr.  Butler  says  that  the  "privilege" 
assigned  to  tWs  circle  is  one  of  Dante's  most  original  and  terrible 
conceptions.  It  may  have  been  suggested  by  Ps.  Iv,  15;  and  it  is  in 
connection  with  this  very  form  of  treachery  that  the  Psalmist  utters 
these  words.  See  w.  12-14,  and  ver.  23.  Note  that  in  ver.  15 
*  *  quick ' '  means  ' '  alive. ' ' 

131.  Atropos.  One  of  the  three  Fates.  Clotho,  the  Spinner, 
spins  the  thread  of  life;  Lachesis,  the  Disposer  of  lots,  determines 
its  length;  Atropos,  the  Inflexible,  cuts  it  off.  Clotho  is  usually 
represented  with  a  spindle ;  Lachesis  with  a  scroll  or  globe ;  Atropos 
with  a  pair  of  scales  or  shears,  or  in  the  act  of  drawing  a  lot. 

sets  it  moving.  Dante  means  simply  that  before  Death  starts  the 
soul  on  its  journey  to  the  world  of  spirits,  it  goes  down  to  Hell. 

136.  governs  it.    Comp.  Purg.  v,  116. 

137.  a  well.  The  original  is  cistema,  a  peculiar  term  for  the  pit  of 
HeU. 

142.  Branca  d'Oria.  Of  the  Ghibelline  house  of  Doria  at  Genoa. 
About  1290,  he  treacherously  murdered  his  father-in-law,  Michael 
Zanche,  Governor  of  Logodoro  in  Sardinia,  at  a  banquet  to  which 
he  had  invited  him. 

146.  eats  and  drinks  and  sleeps.  A  sarcastic  summing  up  of 
Branca's  life. 

147.  Malebranche.    See  note  on  Inf.  xxi,  36.    Dante  means  that 


NOTES  303 

before  Michael  Zanche  had  come  to  the  fifth  Bolgia  to  which  he 
had  been  condemned  for  barratry  (see  Inf.  xxii,  89),  Branca  d'Oria 
and  his  nephew  and  accomphce  had  arrived  in  Tolomea,  and  their 
bodies  on  earth  were  occupied  by  devils. 

154,  155.  I  did  not — unclose  them.  See  note  on  1.  122.  Com- 
ment is  needless  upon  the  pitiless  brutality  which  Dante  vents  upon 
this  wretch.     It  is  in  the  very  spirit  of  the  imprecatory  Psalms. 

156.  Ah,  Genoese  I  The  Italian  proverb  about  Genoa  is:  "Sea 
without  fish,  mountains  without  wood,  men  without  faith,  women 
without  shame."     Mr.  Hare  says  that  it  is  probably  of  Pisan  origin. 

160.  the  worst  spirit  of  Romagna.  Frate  Alberigo.  Faenza 
was  in  Romagna. 

162.  Cocytus.  The  frozen  lake  in  the  ninth  circle  was  formed 
by  the  waters  of  the  infernal  river  Cocytus.  See,  on  the  rivers  of 
Hell,  Introduction,  under  "Dante's  Hell."     Comp.  Inf.  xxxi,  125. 


CANTO  XXXIV 

I.  Vexilla  Regis,  etc.  An  adaptation  or  parody  of  the  opening 
of  the  hymn  of  Venantius  Fortunatus,  Bishop  of  Poitiers,  530-609. 
It  was  sung  during  the  procession,  when,  after  the  adoration  of  the 
cross,  the  Host,  consecrated  on  Maunday  Thursday,  was  carried 
to  the  altar.  Daniel  calls  this  hymn  one  of  the  grandest  in  the 
treasury  of  the  Latin  church.  In  the  original  hymn  "the  banners 
of  the  King"  refer  to  the  cross. 

II.  wholly  covered.  In  contrast  with  those  in  the  three  other 
rounds  who  were  only  partially  imbedded  lu  the  ice.  See  note  on 
Inf.  xxxiii,  97. 

18.  once  ^th  the  fair  semblance  graced.  Before  he  fell  from 
heaven. 

20.  Dis.  Lucifer  is  called  Dis,  which  originally  denoted  godhead, 
deity  in  general,  and  Zeus  in  particular.  Later  it  was  confined  to 
Pluto,  the  god  of  the  infernal  regions. 

39.  three  faces.  The  symbolism  of  these  three  faces  has  called 
out  a  variety  of  conjectures,  such  as  Avarice,  Envy,  Ignorance; 
Anger,  Avarice,  Envy;  Concupiscence,  Ignorance,  Impotence; 
Pride,  Envy,  Avarice ;  Rome,  Florence,  France;  the  three  divisions 
of  the  earth.  It  seems  likely  that  the  three  faces  are  intended  to 
form  a  counterpart  to  the  divine  Trinity.  Dante,  following  Aquinas, 
holds  that  Power  is  the  peculiar  attribute  of  the  Father,  Wisdom 
of  the  Son,  and  Love  of  the  Holy  Spirit.  See  note  on  Inf.  iii,  6. 
Consequently  the  three  Satanic  faces  will  represent  the  opposites  of 
these — Impotence,  Ignorance,  Hatred. 

45.  where  the  Nile  descends.     Ethiopia. 

45,  46.  beneath  each — two  great  wings.  Six  wings,  because  he 
had  been  one  of  the  Seraphim.    See  Par.  ix,  77-78.    Comp.  Isa.  vi,  2. 

bird.  Comp,  |*urg.  ii,  37,  where  the  Pilot-angel  is  called  "the 
bird  divine." 


304  THE  DIVINE  COMEDY 

47.  sea-sails.     Comp.  Milton  of  Satan : 

"  his  sail-broad  vans." 

54.  a  brake.     An  instrument  for  breaking  hemp  or  flax. 

65.  Brutus.  In  the  assassination  of  Julius  Caesar,  Brutus,  from 
Dante's  point  of  view,  was  guilty  of  treachery  to  the  Empire,  which, 
like  the  Papacy,  was  di\inely  ordained.  Dante  regarded  Julius 
Cspsar  as  the  first  Roman  Emperor.     See  note  on  Inf.  i,  67. 

66.  so  large  of  limb.  It  is  not  kno\Mi  from  what  source  Dante 
derived  this  description  of  Cassius.  It  has  been  suggested  that  he 
confused  him  with  one  L.  Cassius,  one  of  CatUine's  feUow-conspirators, 
who  is  described  by  Cicero  in  the  third  Catilinarian  Oration  as 
"corpulent."  But  that  is  not  Dante's  epithet,  and  there  is  no 
evidence  that  Dante  was  acquainted  with  those  orations.  Plutarch 
implies  that  Cains  Cassius  was  pale  and  somewhat  weakly;  and  so 
Shakespeare : 

"  Yond'  Cassius  has  a  lean  and  hungry  look." 

68.  rising  is  the  night  again.     It  is  nightfall  of  Easter-eve. 

77.  turned  his  head.  They  turned  the  centre  of  gravity,  and 
began  to  ascend  toward  the  surface  of  the  opposite  hemisphere. 
Dante  was  not  aware  of  this,  and  supposed  that  they  were  going 
back  to  Hell. 

85.  placed  on  the  edge.  Dante  had  been  clinging  to  the  shaggy 
hide  of  Lucifer.  Vergil  now  transfers  him  to  the  ^ge  of  the  opening 
through  which  they  had  passed. 

86.  he  stretched  his  wary  step.  Vergil  next  lets  go  of  Lucifer's 
hair,  and  carefully  steps  to  Dante's  side. 

91,  92.  fancy  if  I  then  became  perplexed.  My  perplexity  will  be 
understood  by  those  who,  like  uneducated  people,  know  nothing  of 
the  centre  of  gravity. 

94.  half  way  to  the  third  hour.  The  day  is  divided  into  four 
equal  parts  of  three  hours  each,  known  as  terza,  sesta,  nona,  and 
vespro.  Reckoning  sunrise  at  6  A.M.,  half  way  to  the  third  hour 
will  be  one  hour  and  a  half,  or  7.30  A.M.  See  Conv.  iii,  6, 1 ;  iv,  23, 8. 
There  is  no  contradiction  between  this  and  1.  68,  because  they  have 
changed  hemispheres.  The  time  has  gone  back  twelve  hours.  Hence 
the  word  ''returns."  Dante  explains  this  in  11.  105-115.  Having 
quitted  Hell,  time  is  now  measured  by  the  sun.  While  they  were 
in  Hell,  it  was  measured  by  the  moon. 

95.  palace-hall.     Strictly  a  room  with  a  hearth  in  it. 

107.  evil  worm.  Lucifer.  "Worm"  is  also  applied  to  Cerberus, 
Inf.  vi,  20.  Lucifer  is  said  to  bore  the  world,  partly  because  the 
pit  of  Hell  was  formed  by  his  penetrating  the  earth  to  the  centre 
when  he  fell  from  Heaven,  and  partly  because  in  his  position  at  the 
centre,  he  is  in  both  hemispheres.  See  Introduction  under  '  *  Dante's 
HeU." 

113.  the  great  continent.  Lit.  "the  great  dry  land."  The 
northern  hemisphere  is  covered  with  land.  Lucifer,  when  he  fell 
from  Heaven,  struck  the  earth  on  the  southern  hemisphere,  which, 
at  that  time,  consisted  of  land,  and  tore  through  to  the  centre  of  the 


NOTES  305 

globe.  The  land  of  the  southern  hemisphere  retreated  from  him 
in  terror,  and  withdrew  to  the  northern  hemisphere,  and  the  sea 
came  up  and  covered  the  space  which  it  left. 

1 16.  upon  a  little  round.  Dante  had  asked :  "Where  is  the  ice?" 
Vergil's  reply,  in  substance,  is:  "The  ice  is  under  your  feet.  You 
are  standing  upon  a  small  circular  platform.  The  upper  side  of  this 
on  which  you  stand  is  the  stone  of  the  perforated  rock  (1.  84),  cor- 
responding to  the  under  side,  which  is  formed  by  the  icy  floor  of 
Giudecca,  the  smallest  of  the  rounds. 

121.  he  fell  down  upon  this  side.     See  note  above  on  1. 113. 

126,  127.  vacant  left  its  place.     This  is  explained  by  11.  122  ff. 

there  is  a  place,  etc.  This  is  the  long,  dark  passage  by  which  the 
poets  are  to  ascend  to  the  light  of  day.  Vergil  speaks  of  it  as  "  below," 
from  the  point  of  view  of  one  standing  on  the  earth.  He  says  that 
it  was  formed  by  the  transfer  of  the  land  from  the  southern  to  the 
northern  hemisphere  at  the  fall  of  Lucifer,  and  that,  perhaps,  the  land 
withdrew  in  order  to  escape  him. 

128.  Beelzebub.  See  Matt,  xii,  24.  The  only  occurrence  of  the 
name  in  the  Commedia.  The  fallen  angel  is  called  by  Dante  "Luci- 
fer"; "Dis";  "the  hostile  power";  "the  king  of  Hell";  "the 
creation  which  had  the  fair  semblance";  "the  emperor  of  the 
doleful  realm";  "the  wicked  worm  that  pierces  the  world";  "he 
who  was  created  more  noble  than  any  other  creature";  "he  who 
first  turned  his  back  on  his  Creator";  "the  first  haughty  one"; 
"the  highest  of  all  created  beings";  "the  perverse";  "the  one 
straitened  by  all  the  weights  of  the  world' ' ;  " Satan' ' ;  "  the  Devil." 

130.  a  brooklet.  In  Purg.  i,  43,  it  is  called  "the  blind  or  dark 
river."  It  is  commonly  understood  as  the  outflow  of  Letli'3,  which 
descends  from  the  summit  of  Purgatory,  and  bears  down  to  Hell  the 
expiated  sins,  as  the  infernal  rivers,  Acheron,  Styx,  and  Phlegethon 
carry  down  into  Hell  the  whole  mass  of  sins  committed  by  men  on 
earth.  See  Inf.  vii,  17,  18.  It  should  be  noted,  however,  that  in 
Inf.  xiv,  136-137,  Vergil  says:  "thou  shalt  see  Lethe,  but  outside 
of  this  ditch,  there  where  souls  go  to  purge  themselves  when  their 
sin  has  been  repented  of  and  removed' ' ;  and  further,  that  there  is 
nothing  whatever  in  the  poem  which  indicates  the  connection  of 
this  stream  with  Lethe. 

138.  the  beauteous  things.  The  stars.  Comp.  Inf.  i,  39.  These 
were  the  stars  of  the  early  morning,  as  appears  from  Purg.  i,  20-26. 

140.  the  stars.     Each  division  of  the  poem  closes  with  this  word. 


THE  END 


14  DAY  USE 

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